by Brian Goslow
Exploring the experiential, psychological and metaphorical implications of the nonvisual in American art from the 1960s to today,” Second Sight: The Paradox of Vision in Contemporary Art,” which opens on March 1 and continues through June 3 at the Bowdoin College Museum of Art, 9400 College Station, Bowdoin, Maine, “asks why and how numerous visual artists, such as William Anastasi, Robert Morris, Joseph Grigely and Lorna Simpson, challenge the primacy of vision as a bearer of perceptual authority.” The exhibition features “a diverse group of sighted and unsighted creators, a range of sculptural, sound-based and language-based artworks that investigate the significance of embodied knowledge by exploring what resides on the other side of the visual field,” its creators ask its audiences “to reflect upon the significance of what we cannot see, whether by choice, habit, or physiological limitations, in the world around us.”
“Surfacing: Beyond the Narrative,” works by Chelsea Revelle and Kathline Carr, has its opening reception on March 2 and continues through April 1 at Fountain Street, 460c Harrison Ave. #2, Boston. The show matches Revelle — a Boston-based fine artist exploring assemblage, mixed media, printmaking and fiber art — and North Adams-based writer and visual artist Carr, winner of the 2015 Clarissa Dalloway Book Prize and more recently the author of “Miraculum Monstrum” (Red Hen Press 2017). For this show, each artist explores a Kathline Carr, Ley Lines (detail), at Fountain Street.
unique combination of materials and processes to rediscover real and imagined spaces, with Revelle’s imagery of dollhouse interiors, fractured furniture and the coexisting subdued organic matter “investigating themes of constraint,” while Carr’s imagery uses landscape as a point of entry “to explore isolated forms, textures and surfaces.”
As part of its ongoing Visiting Curator Series, the Grimshaw-Gudewicz Gallery at Bristol Community College, 777 Elsbree St., Fall River, Mass., will be presenting “OtherWordly,” an exhibition featuring six Massachusetts artists whose work “conjures an environment that is both familiar and fantastical” from March 8 through April 6. The show was curated by New Bedford resident Catherine Carter, whose own work will be joined by that of Deborah Barlow, John Borowicz, Michael Hecht, Keri Straka and Kathleen Volp. “We are drawn in by a hazy sense of recognition, but closer contact reveals a realm of new and unexpected visions, emotions, ideas,” Carter said. “Have we been here before? Maybe, in some dream or altered state. We are not sure, and yet some element of remembered experience calls to us from within the work.”
“The Atelier Photography 27 Exhibition and Davis Orton Gallery’s 8th Annual Self-Published Photobook Show” takes place from March 8 through April 1 at the Griffin Museum of Photography, 67 Shore Rd., Winchester, Mass. The work in the exhibition is the end result of the combined group of students from an ongoing course that the Griffin offers for intermediate and advanced photographers. “The Photography Atelier has such a long and rich history; I’m honored to be leading this workshop for emerging photographers with Amy Rindskopf assisting,” said Photography Atelier instructor and photographer Meg Birnbaum. “The talent among the 15 members of this group show is varied and inspiring — from our relationship with architecture, memory, color, light and objects, the landscape, and portraits — the show is very satisfying feast for the eyes and soul.”
“Rocky Neck Now 2018: The Annual Spring Members’ Show” runs from March 8 through April 8 at the Cultural Center at Rocky Neck, 6 Wonson St., Gloucester, Mass. The exhibition features a wide range of recent abstract, representational and expressive styles in all media, 2D and 3D works by over 30 Rocky Neck Art Colony artists, including Nubar Alexanian, Kathleen Gerdon Archer, John Bassett, Katherine Coakley, Mary Cole, Yhanna Coffin, Terry Del Percio, Robert Diebboll, Judith Goetemann, Leslie Heffron, Richard Honan, Jane Keddy, Randolph Kelts, Otto Laske, Brenda Malloy, Ruth Mordecai, Ed Mowrey, Tom Nihan, Regina Piantedosi, David Piemonte, Mary Rhinelander, Martha Swanson, Marilyn Swift, Bonnie Twomey, Connie Vallis, Rokhaya Waring and Karen Watson. A number of “Rocky Neck Now” participants will be on hand for a panel discussion on Sunday, March 11 at 2 p.m. This is the first show at the Cultural Center’s main gallery since undergoing major renovations, in large part with the help of Mass Cultural Council grant.
The 334 Gallery Printmaking Invitational continues through March 10 at the Milton Art Center, 334 Edge Hill Rd., Milton, Mass. “These are artists living and/or working in the Boston area and beyond,” said Robert Brodesky. “Most are primarily printmakers, while some primarily work in other mediums. Many artists work full time, while others are in education, music and other professional fields. All artists see printmaking as an integral part of their creative expression. Printmaking is a rich and versatile medium, and has a global impact on so many areas of history, including politics, religion, literature, music, and technology. The work demonstrates the depth and breadth of contemporary printmaking, in a range of mediums and subject matters, from narrative to abstract.” Gallery hours are Friday from 4-6 p.m. and Saturday from noon-4 p.m.
Taking nature as their starting point and looking at it “through a prism of personal, political or technological concerns,” Gloria Garfinkel, Brenda Giegrich, Sandra Gottlieb, Nolan Preece, John Lyon Paul, Mark Sharp, Susan Sommer and Martin Weinstein strived to portray nothing less than the very essence of the natural world in putting together their pieces of Pattern, Power, Chaos and Quiet, which continues through March 31 at the Housatonic Museum of Art on the campus of Housatonic Community College, 900 Lafayette Blvd., Bridgeport, Conn. Their interpretations range “from magical and quiet to alarming and threatening. Through their use of brilliant color, dramatic shape, chaotic pattern and assemblages of wood and paint, these artists challenge us to rediscover the beauty and power that nature wields, and our place within its path.” Noting that “Depression and anxiety is on the rise, especially with younger generations who spend their free time on screens rather than outdoors,” museum director Robbin Zella said she “hopes that this exhibition will allow viewers to rethink what is beautiful in nature, and perhaps protect and preserve it.”
The “19 on Paper Group Show” continues through March 31 at Francesca Anderson Fine Art, 56 Adams St., Lexington, Mass. Nineteen on Paper, an organization formed in 1986, is composed of New England painters, collage artists, printmakers, book artists, photographers, digital artists and sculptors working on or with paper who, at times, will work in different mediums and techniques to fit a specified subject matter. “Their work is wonderfully diverse in style and size, while remaining true to using paper,” Anderson explained. “From an aquatint of New York City, looking up at iconic tall buildings, to an incredibly intricate close up and detailed colored pencil of sneakers to a collage of the artist’s own prints, cut out to arrange a leafy symbol of life and growth, this show has a wide variety of images that you should come see. As an added incentive to check out the work, there are demonstrations scheduled throughout the exhibition, including Grace Bentley-Scheck on printmaking techniques on March 10 and Kendra Ferreira on colored pencil techniques on March 18.” For more information, call (781) 862-0660.
“Mighty Minis,” an exhibition curated by Suzan Shutan that pulls together 30 contemporary artists from the United States and abroad who have come together to reflect and respond to working small, runs through April 8 at the Melanie Carr Gallery, 1 North Main Street #10, Essex, Conn. Noting that for centuries, “artists have utilized pint-size scales to depict and explore cherished, esteemed and intimate subjects,” the gallery’s focus for this show “is on the process of abstract painting, the exploration of work in two and three dimensions, on traditional and modern approaches, the space between craft and concept, and content and form.”