Your work could be artscope’s next CENTERFOLD. Your work could be Artscope’s next CENTERFOLD. Work by established and emerging artists welcome. For the September/October 2016 issue we will be accepting submissions for the category of Fiber Art. Please send up to three images and your statement with contact information to: centerfold@artscopemagazine.com no later than October 10, 2016. Please send low resolution images for review. High resolution images must be available to be reproduced up to 9” x 12” according to the orientation of the work selected. No resumes please. The centerfold will be selected based on visual and/or conceptual quality, by three jurors, if applicable a panel of one Artscope staff and two arts professionals. “Color in Oil Painting.” Sign up for classes in September, presented by Evelina Brozgul. 5 week class, limited to 15 students. … [Read more...] about Classifieds September/October 2016
September/October 2016
September/October 2016 Centerfold
Artscope 64, September/October 2016 art: Mother and Son and Trio artist: Robert Rovenolt medium: mixed media My working method has always centered on my personal response to found, reclaimed objects and other cast-offs. I usually don’t actively look for these sources, but rather “let them find me.” Sometimes this process is accelerated by “finds” that “picker friends” save for me. By juxtaposing the newly acquired items with selections from other materials stored in boxes in my studio, I begin to fabricate the assemblages and collages. Then it’s a matter of adding or subtracting elements until the desired effect is achieved. This working method allows me the freedom and flexibility to take exploratory paths I wouldn’t normally travel. When incorporating found objects, one is never completely the master of one’s fate. It becomes a … [Read more...] about September/October 2016 Centerfold
Welcome, Sept/Oct 2016
Welcome Statement, July/August 2016 by Brian Goslow Welcome to our September/October 2016 issue of Artscope. We went into the production period of this issue encouraged by the number of people telling us they couldn’t wait for our new issue — nor could the people who share their copy – which is the kind of incentive we need to keep plugging on those 14-hour days. As we’ve always seen our magazine as one that grows through the invaluable word of mouth from our readers and advertisers, this is vital feedback for us. It was rewarding to learn that the Copley Society of Art sold a number of works from the “Ship to Shore” exhibition featured on the cover of our July/August 2016 issue, the Cape Cod Museum of Art nearly doubled its attendance from the previous summer during the Susan Danton-curated “At the Crossroads” exhibition reviewed in that same issue, and the Frank … [Read more...] about Welcome, Sept/Oct 2016
First Light Shines at the ICA
A Decade of Diversity and Inclusion by Joshua Ascherman Despite the surge in identity-interested art production that occurred in the 1990s — a time when some artists were thinking specifically about inequality within the art world itself — there are still art museums in the United States that have a problem with diversity and inclusion. This is not so at the Institute of Contemporary Art/Boston, which has made it a mission to collect works that “examine the most urgent social and political issues of our time.” In “First Light: A Decade of Collecting at the ICA,” the museum commemorates its 2006 move to a gorgeous Diller Scofidio + Renfro building on the waterfront by putting some of the highlights of its collection on display; one of the first things that viewers will notice is the show’s strong focus on art by women. In fact, women artists comprise nearly two-thirds of … [Read more...] about First Light Shines at the ICA
Tayo Heuser’s Spiritual Force
Looking In: Looking Out in Jamestown by Suzanne Volmer In conversation at her Pawtucket studio, Tayo Heuser described herself as shy; to discuss her as a person with a countenance of introspection seems more accurate. The assessment of herself was enigmatic and thoughtprovoking, juxtaposed against the array of emotive abstractions which blanketed nearly all of the walls and available table surfaces around her that day, as she prepared for “Looking In: Looking Out,” her solo exhibition that opened September 1 at the Jamestown Arts Center. Her reductive sensibility engages the idea of spirituality in art. Heuser’s work transcends the feeling of being in the “now,” directing attention toward the ineffable beyond. While putting last details on pieces to be included in the show, she discussed Jamestown’s exhibit space. She spoke about the set-up she envisioned to engage the … [Read more...] about Tayo Heuser’s Spiritual Force
Brewster’s Quixotic Encounters
A Movement and a Region Evolve by J. Fatima Martins David Brewster exemplifies, in an extraordinary way, how American regionalism has evolved and continues to manifest into the contemporary realm. He is a master of formal and trained juxtapositions and dichotomies. In his paintings, Brewster combines the power of midcentury action and expressive mark-making — contemporary forms of plein air production — with the narrative intellectualism of scene painting, capturing and interpreting, from a personal perspective, the nuances of a specific time and place. He is a thoroughly American artist, and as expected for a doyen talent, his work is steeped in and bridges the fullness of art history. What makes him an example and expansion of the regionalist mode is the manner in which he reveals, creates and projects a story. Like the regionalists of the past, his style appeals to a … [Read more...] about Brewster’s Quixotic Encounters