“Art may yet save the world.”
Thus writes Nancy Nesvet in her wrap-up of this year’s Art Basel international art fair in Basel, Switzerland, in this issue. She’s addressing what she sees as a need for the world’s citizens — and especially its artists — to “band together to work to solve environmental and political problems if we are to survive as a people.” Much of the artwork she reports on takes on these concerns as does some of the exhibitions covered in this issue of Artscope.
How those messages will be conveyed remains to be seen. We work hard in giving a voice to artists, addressing their societal concerns through their artwork and share them to create public participation. That also means constantly opening the ways we get those messages out to you.
The loss of traditional media publications and journalism outlets available for artists and art organizations and institutions to get the word out about their exhibitions and events has changed since the internet provided alternatives to spread news on events.
Many of us remember when everyone expected to find all or most of the information they needed on events in their city or town newspaper and on local television and radio stations. Many of these centers no longer exist.
Now, there’s a whole new generation where a good proportion of them don’t search for information this way and have no idea that options outside of social media are available. Reaching a target audience is harder than ever, and while social media platforms can help target those audiences as they continue to become the norm for sharing information. In our 13 plus years, Artscope has continually been expanding its reach into new mediums as they develop, from having our own app to centralize content from our various offerings to posting on Facebook, Instagram and Twitter as well as fresh timely content to complement our magazine coverage through Artscope Online features on artscopemagazine.com. And with that, we continue keeping our printed content just as relevant, timely and engaging as media that can be consumed digitally.
Exhibiting artists have a voice in not only what they convey through their work but also in who sees their work. They have the power to ask galleries and museums showing their work to advertise or list their shows with us; we see our ourselves in partnership with them in striving to encourage art lovers and buyers throughout New England, the United States and around the world to travel to their exhibitions or, in the very least, inquire about works that grab their attention and interest.
More than ever, we’re counting on you to help get the word out about Artscope Magazine and support us through advertising, placing listings, or sharing copies of our latest or past issues with others you know and feel are interested in the art and cultural scene.
In this issue, with “staycations” becoming more of the norm, we’re encouraging you to get out to several locations and enjoy a weekend (or more) of art wanderlust. Daniel Kany looks at Rockport, Maine’s must-see shows of the summer while sharing his favorite places for food, drink and a good night’s rest. Suzanne Volmer updates us on Newport’s changing gallery scene and why you should build a visit to Williamstown, Massachusetts around a Renoir-centered show at the Clark Institute. Kristin Nord looks at recent and ongoing changes at the Lyman Allyn, Florence Griswold and Mattatuck museums intended to enhance the visitor experience at those Connecticut landmarks.
Lee Roscoe previews the Stephen Pace solo exhibition opening in July at the Provincetown Art Association and Museum and this summer’s offerings at the Falmouth Art Center. With the 50th anniversaries of the first moon landing and Woodstock fast approaching, the Bennington Museum has two exhibitions on 1960s Bennington focusing on both the art made in Vermont at the time as well as the social movements, including back-to-the-land living, that are previewed by Marguerite Serkin, whose childhood influences from that time period shine through her words and actions today.
Beth Neville celebrates artists who recycle found materials into top rate art in “Some Assembly Required” at the Art Complex Museum and the Maine Crafts Association’s “Ten Years of Master Craft Artists” exhibition at the Fuller Craft Museum.
With the threat of military action in Iran on many of our minds, “Collective Punishment,” an exhibition curated by Iranian-born Roya Amigh, who now lives in Boston, that features work by 10 international artists and will be on view this July at the Musa Collective Gallery in Allston, Massachusetts, couldn’t be timelier. Elizabeth Michelman has been working on her feature on the show that’s in this issue since early Spring.
We’ve received great feedback on Ron Fortier’s features focusing on the business end of art; in this issue, he talks with Denn Santoro of the New Bedford, Massachusetts-based S & G Art Brokerage on the role art brokers can play in bringing artists’ work to the attention of otherwise unknown buyers looking to enhance their businesses, apartments or facilities. His story will certainly make those of you who are artists consider the opportunities that might possibly exist when you hear about or see new construction going up in your city or town.
And that’s exactly the role we see ourselves as having in New England’s art community. We’re here to share information and ideas and report on those artists, exhibitions and venues whose work we find inspirational while keeping up with this fast-moving world of both traditional media and social media platforms.
We look forward to your continued support.