One of the highlights of any group exhibition opening reception is the taking of a photograph of all the participants together. When “Crossroads: 4 Perspectives,” opened on October 10 at the Mary Cosgrove Dolphin Gallery at Worcester State University, Patricia Gerkin was in Italy on a short vacation with her husband. A few days later, Debra Claffey would be in New Orleans attending Golden Paint’s Artist Educator Training Program, learning about their paints, grounds and mediums, Donna Hamil Talman in Marseille, France, and only Charyl Weissbach was at her normal workspace in Boston. The four make up the Elemental artist collaborative, the members of which first met through New England Wax, a group started in 2006 for New England artists working with wax. Finding a commonality, they set out to find opportunities for exhibitions for just the four of them. “We spent a good deal of time, … [Read more...] about ENCAUSTIC CROSSROADS: ADDRESSING ECOLOGICAL CONCERNS THROUGH WAX AT WSU
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Damien Hirst’s Treasures from the Wreck of the Unbelievable at the Venice Biennial 2017
By Nancy Nesvet Venice, Italy - Damien Hirst’s “Treasures from the Wreck of the Unbelievable” installation, on view at Palazzo Grassi and Villa Doghana, Venice’s Customs House, is one of the Venice Biennial 2017’s most wildly popular exhibits. Following 10 years of work and thousands of euros of investors’ money, Hirst presents a fictional rescue of artifacts from the ship, Apistos (Kona Greek for Unbelievable). Hirst’s storyline: a freed slave, Cif Amoton II, the letters of whose name rearrange to read “I am fiction” lived during the late first and early second centuries A.D., amassed a fortune, then bought and loaded statues and reproductions of ancient art and crafts pieces onto a ship bound for the Temple of the Sun, which he built. Hirst’s story continues with the fictional sinking of the ship in the Indian Ocean 5,000 meters under the seabed off East Africa, and its videoed … [Read more...] about Damien Hirst’s Treasures from the Wreck of the Unbelievable at the Venice Biennial 2017