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Capsule Previews

Judy Volkmann, Visionary, at University of Rhode Island Providence Campus Gallery.

Brian Goslow

“… and the journey continues …,” mixed media works by Northeast Kingdom artist Kathy Stark representing the progression of her work from the 1980s to the present, will be on display through March 30 at the Spotlight Gallery at the Vermont Arts Council, 136 State St., Montpelier, Vermont. The five series being shown, in chronological order, are Color Poems, White Works, Words, Collage and Checker Board. “I have been working with pattern, mark making and repetition for the past 35 to 40 years,” said Stark. “I work in series, each series lasting three to six years, often with transitional pieces bridging the change.”

“30 Years of Women’s History,” featuring fine art in all media by over 30 area women artists in celebration of the 30th anniversary of March being Women’s History Month, is on exhibit from March 1 through 31 at the University of Rhode Island Providence Campus Gallery, 80 Washington St., Providence, Rhode Island. “The master artists are exhibited along with some significant up-and-coming artists. The common thread of the exhibit is that this is a group of fine artists who happen to be women. More than focusing on feminism(s) or what is the ‘femaleness’ of their work, the art speaks for itself and the masterful execution is inspiring. The intention is neither to break genre stereotypes nor is the work confined to those ‘precious crafts’ women were once relegated to work in.” The show’s artist reception takes place on Thursday, March 16 from 5-9 p.m. as part of the first Gallery Night Providence of 2017.

“Throwing Up Bunnies: The Irreverent Interlopings of Triple Candie, 2001-2016,” which pulls together new works and a series of modified versions of past installations by the curatorial agency known for irreverent presentations that included shoddy reproductions and shows featuring fake artists, includes “David Hammons: The Unauthorized Retrospective,” “Undoing the Ongoing Bastardization of The Migration of the Negro By Jacob Lawrence” and “The Workshop of the Harrogate Seven,” remains on view through April 2 at the Addison Gallery of American Art at Phillips Academy, 180 Main St., Andover, Mass. The brainchild of art historians Shelly Bancroft and Peter Nesbett (Phillips Academy Class of 1984), the agency had a Harlem gallery that closed in 2010 to shift its focus to museum exhibitions. “Rather than find new marginalized communities for which to advocate, Triple Candie decided to start working without artists, offering up a new model that ironically had, and continues to have, more in common with artistrun organizations that similarly challenge traditional notions about art,” said Addison Gallery curator Allison Kemmerer. Far from traditional, the show had found great appreciation amongst those looking way outside the box for inspiration.

“During her lifetime, Frida Kahlo created some 200 paintings, 55 of which are self-portraits. When asked why she painted so many selfportraits, Kahlo replied: “Because I am so often alone — because I am the subject I know best,” noted the call for participants for “Selfie: An Exhibition of Self-portraits” that runs through April 8 at The Schelfhaudt Gallery, University of Bridgeport, Arnold Bernhard Center, 84 Iranistan Ave., Bridgeport, Conn. Over 50 artists from around the United States responded to the call for this “special opportunity for artists to express themselves — literally!” The show was curated by gallery director Peter Konsterlie and author Dominick Lombardi.

Last year’s “Cyanotypes: Photography’s Blue Period” exhibition at the Worcester Art Museum was one of the region’s surprise shows of 2017, gaining widespread attention. The genre gets a fresh revamping by Gail Erwin in her “NICHE: Cyanotypes and Constructions” show that’s on display through April 15 at 6 Bridges Gallery, 77 Main St., Maynard, Mass. “This series started with a photograph taken in a ruined monastery,” Erwin explains. “It shows four openings or niches whose original purpose can only be imagined. Perhaps they were for a sacred statue or a reliquary. The photos have been created in the 19th century photographic process of cyanotype. Digital negatives are used in printing. Twenty first century technique meets 19th century process. These blue prints defy time, making the images seem timeless.”

Over 90 guns decommissioned through a Pittsburgh gun buyback program have been turned into art objects now on display through June 10 in “I.M.A.G.I.N.E. Peace Now” at the Society of Arts + Crafts, 100 Pier Four Blvd., Suite 200, Boston. Providence-based metalsmith and activist Boris Bally has brought together over 100 artists under the Innovative Merger of Art & Guns to Inspire New Expressions moniker to make a powerful statement about the gun violence epidemic in America. The show “is a call to arms, hearts and hands intended especially for contemporary metal artists” with the work on display responding to, and hopefully initiating, “conversations regarding the gun violence so prevalent in American culture today.”

“Without a Theme,” an exhibition featuring approximately 20 vibrant, large-format installations from seven premier North American artists, opens on March 31 at the Mashantucket Pequot Museum & Research Center, 110 Pequot Trail, Mashantucket, Conn. Acrylic, mixed media, glass, sterling and organic materials constructed works by Jeff Kahm (Saskatchewan, Canada), Bob Haozous and Russel Frye (New Mexico), Allan Houser (Oklahoma), Courtney Leonard (New York), Isaac Dial (Utah) and Joe Feddersen (Washington) will be displayed. “We strategically immerse visitors in large, vibrant installations – letting the purpose, message and emotion of each piece move the individual,” said curator Tahnee Ahtoneharjo-Growingthunder. “Our focus on color and composition — rather than theme — allows the artists’ connections to their community and their purpose to speak for itself.” The show runs through November 2.

“Conceal and Reveal” perfectly teams Denise Driscoll and Kay Hartung, whose paintings “obscure fully rendered patterns and trust what lies below to re-emerge as they scrape, carve, sand, torch, incise and otherwise manipulate their materials” for a show that opens April 16 and continues through May 7 at Fountain Street Fine Art, 59 Fountain St., Framingham, Mass. Remember those mitochondria from biology class? Hartung’s work blows up microscopic imagery, in the process, “creating colonies of cellular shapes that migrate, flow and multiply,” pulling viewers into “the beauty of this mysterious world” of the human cell. Driscoll’s shapely creations “create playful diagrams” that initiate a Rorschach-like test of the imagination where, “Physical experience intermingles with intangible ideas, world events, literature, memory and dreams.”

“Twisted Path IV: Vital Signs,” an invitational exhibition featuring artwork that reflects personal stories about tribal identity and balancing life in a complex world, opens April 7 at the Abbe Museum, 26 Mt Desert St., Bar Harbor, Maine. The exhibition’s title is based on a traditional beadwork pattern of the same name, describing a back and forth or meandering quality. “It is symbolic of native artists alternating between two cultures, striving to preserve historical and spiritual traditions while experiencing modern lifestyles and new art forms.” The museum’s mission is to inspire new learning about the Wabanaki Nations with every visit. “Twisted Path IV” participating artists include Jason K. Brown (Penobscot), David Moses Bridges (Passamaquoddy), Chris Pappan (Osage, Kaw, Cheyenne River Sioux), Hollis Chitto (Laguna/ Isleta, Mississippi Choctaw) and ShaaxSaani (Tlingit), who were chosen based on the aesthetics of their work, their ability and willingness to tell stories through art, and the unique and contemporary natures of their forms.