CALL for ART

Jurors: Hope Turner and Zola Solamente of Arden Gallery, Boston

Exhibit dates- January 30 – March 2, 2014

Reception Saturday, February 8, 2013, 5 –7pm

Application is ONLINE ONLY

Submission Deadline – December 1, 2013 by 6pm

Wicked: (adv.) New England slang that adds emphasis. Very, extremely cool, great; excellent. (*Note: to properly use 'wicked' there must be an adjective placed after it. “The show was wicked” is
incorrect.  “The show was wicked awesome” is the correct usage ;)

Around here, ‘wicked’ describes the best. Show us your best work- original, fully realized, well-crafted two and three-dimensional work and new media. Everything else is up to you! This show is open to professional artists working in all media.

Jurors: Hope Turner and Zola Solamente of Arden Gallery, a prominent contemporary art gallery located in Boston, MA, representing contemporary artists from across the nation, working in various styles: abstract; realism; figurative; still life; landscape; cityscape; surreal and concept-driven.

IMPORTANT DATES

• Submission Deadline – December 1, 2013 by 6pm EDT

• Notification of acceptance – listed on gallery web site by December 30, 2013

• Delivery –   Shipped work must arrive before 5pm, January 23, 2014

In person, January 23 -26, 11am-5pm

• Pick Up of Works – March 2, 5 –6 pm and March 3, 11am –2pm & 6pm – 8pm.

WORK MAY NOT BE REMOVED BEFORE THE END OF THE SHOW @ 5PM 3/2

 Apply at fountainstreetfineart.com/apply


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Kellie Weeks talks about Mark Rothko

This is another in a series of occasional blog posts, where we've asked a member artist to talk briefly about an artist who's profoundly influenced their work. Here, core artist Kellie Weeks talks about her fascination with the Color Field Paintings of Mark Rothko.

One of my most profound inspirations is Abstract Expressionist Mark Rothko.  In his much later work, I admire the way he brilliantly uses fields of non-objective color to portray a story.  

Orange and Yellow, by Mark Rothko, oil on canvas, 231 x 180.3 cm, 1956, courtesy of Albright-Knox Art Gallery, Buffalo, NY, USA.

Rothko comments “I think of my pictures as dramas; the shapes in the pictures are the performers.   They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame.”  (American Art Since 1945; David Joselit)  

Often, I see my own work in this fashion.  Each painting is a drama constructed with colors and forms, and I invite the viewer to look in and perhaps create their own narrative based on the information I have provided.   There are no embarrassments, no shame, everything on the canvas is there for a reason.  They are all actors in the play.

- Kellie Weeks

And now a bit about Kellie Weeks:

Kellie is an abstract painter. Often in her work, basic fields of color, shapes, and objects are seen yielding to one another or competing for space. These dynamic compositions tend to describe simple relationships which reveal pertinent information about mankind and what it means to be a living being in this world, all the while, trying to illuminate the human spirit and the journey it is on.

Kellie paints with pigment sticks and encaustic, which is an ancient medium that is comprised of beeswax, resin, and dry pigments.While using encaustics for their insurmountable quality, depth, and brilliancy, Kelliealso incorporates dry pigments, metal leaf, shellac, and other mixed media as vehicles to develop a whole lexicon of imagery.

Kellie’s work has been exhibited nationally in many juried and group shows, and is

included in many private and public collections. Additionally, she has worked on many

commissioned pieces. She works diligently, day to day in the studio, searching for what her hero Mark Rothko calls the “anecdote of the spirit”.

Refresh...

Ahh, Summer....

no limit, our summer juried show, was fresh, with" a distinct way of looking at the world, and a kind of clarity of intention… artists that are making art that I haven't seen before, and that are introducing me to new ways of looking at the world, “ according to juror Kathryn Markel.

We were sad to see it go.

The gallery is unusually quiet in August, as we take a breath and enjoy the last days of summer. 

Quiet, but not still. 

We take this time to reflect, retool, refresh-ourselves, the space, and our plans for the future.

 Denise Driscoll tries her hand at a different
kind of painting (photo by Brenda Cirion

The Fall schedule is ready-

Scout K. Austin's solo show, BEE BUZZ, runs from September 5, 2013 - October 6, 2013. Please join us for a Reception, Saturday, September 7, 5 - 7 pm.

Looking Out from Inside, Scout K. Austin, encaustic mixed media.

Austin’s work focuses the viewer’s attention on the essential honeybee by highlighting both the beauty of the honeybee’s life and the serious threats to the honeybee’s existence. By combining lush, bright color with contradictory, menacing darkness, Austin’s work encourages the viewer to take a deeper look at an important and species in crisis.

Find out more about our upcoming exhibits, as well as take a look back at our previous shows, on our website.

Kay Hartung's Favorite Artists

This is another in a series of occasional blog posts, where we've asked a member artist to talk briefly about an artist who's profoundly influenced their work. Here, in summery picture-book fashion, associate artist Kay Hartung has compiled a list of artists who have particularly inspired her. Click on the artist's name for more info, and treat yourself to a mini art history lesson.

Tell us- Who's inspired you?

Annie Albers - pattern

Sonia Delaunay- color

El Anatsui - materials, structure

Ernst Haekel - cellular images

Eva Hesse - materials

Matisse - pattern, color

Sheila Hicks - texture, color

Picasso - abstraction

And now a bit about Kay Hartung:

Kay Hartung is a mixed media artist who has a studio at ArtSpace Maynard and lives inActon. She has a BFA from Philadelphia College of Art and an MFA from Syracuse University. She was on the faculty of Bradford College in the Creative Arts Division from 1979-1999. She maintained a studio at Vernon Street Studio in Somerville for 10 years before moving to Acton in 1992. Her work has been exhibited nationally and is in many private and corporate collections. She has created specially commissioned work for both public and residential spaces. You can see examples of her work at kayhartung.com

Reflections on Making: Sara Fine-Wilson talks about Sara Sze

This is another in a series of occasional blog posts, where we've asked a member artist to talk briefly about an artist who's profoundly influenced their work. Here, associate artist Sara Fine-Wilson talks about her fascination with the work of Sara Sze.

photo courtesy of : artsmarttalk.blogspot.com/2012/03/sarah-sze-our-artist-invenice.

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Paying attention to what is there can often prompt questions about whats not there and why. This is where I begin. I try to take notice of what I might have missed, ignored or dismissed as irrelevant. Often times this act can lead me to discovery. As an artist I can set up parameters and manipulate materials that act as a map to guide the viewer but I donʼt tell the whole story. I am interested layered connections, how they form and what they look like.

Inspiration for the objects I make can come from a broken bit of something glossy, a collection of parts waiting to be purposed, a desire to manipulate a certain material and the way things interact with each other. Inspiration also happens when I have conversations with students, colleagues and other artists.

Most recently I have been paying attention to the work of Sara Sze. I am interested in the way she explores the idea of being thrown of center and out of one comfort zone. She creates situations in which the viewer has an experience of interacting that provokes questions and exploration. If you want to read more about her work check out this piece in the NY Times.

And now a bit about Sara Fine-Wilson...

Levitate, sculpture by Sara Fine-Wilson

Sara Fine-Wilson is an artist and teacher who works primarily in sculpture and also in photography and painting. She attended The Maryland Institute college of Art and earned a BFA with a Major in Ceramics.  She went on to the Massachusetts College of Art and earned a Master of Science in Art Education with a studio focus in clay. She then spent a year as a resident artist at The Worcester Center for Crafts. She completed her MFA in Ceramics at The University of the Arts in Philadelphia.PA. Her work has been shown at The Concord Art Association, Fitchburg Art Museum, Danforth Art, Gallery 540 at Urban Outfitters World Headquarters. She is an associate member of the Fountain Street Fine Art Gallery in Framingham Ma where her work is represented regularly. She currently teaches art at Lincoln SudburyRegional High School. She continues to work in her studio in Millbury Massachusetts where she lives with her husband Bruce and her dog Arlo. See more of her work at sarafinewilson.com.

Roy Perkinson talks about Degas

This is another in a series of occasional blog posts, where we've asked a member artist to talk briefly about an artist who's profoundly influenced their work.

One of my favorite pictures:

A pastel/monotype by Edgar Degas, collection of the Museum of Fine Arts, Boston.

In the autumn of 1890, Edgar Degas accompanied his friend, the sculptor Bartholomé on a trip from Paris to the Côte d’Or and back, passing through the Burgundy region of France. Bartholomé drove the two-passenger carriage, and Degas was free to watch the landscape go by, although the artists never stopped to paint pictures. En route, they stayed at the home of another friend, Georges Jeanniot, who happened to have a printing press. Using the press, Degas began what eventually would be a series of some 300 landscapes, executed from memory, using a technique he had been using since the 1870s – monotype. A very painterly technique, monotype involves applying ink or oil paint to a metal surface (like an etching plate) to create an image. Degas put a piece of paper on top of the painted plate and both the paper and the plate passed through the press to transfer the image to the paper. This process yields only one strong image (hence “monotype”), but the plate can be printed on a second and even a third piece of paper, producing progressively weaker results. Degas enjoyed applying pastel on top of these printed images, reinterpreting each – whether only one, two or three of them – using a variant color scheme to achieve pictures that can be remarkably different from each other.

One of my favorite examples among these pastel/monotype combinations is this landscape, in the collection of the Museum of Fine Arts, Boston. A moderately dark, gray-green ink defines the underlying composition, and delineates the cliffs in the foreground, the landscape and river in the middle ground, and the hills in the distance. A rusty red ink was brushed over the sky area. Then, on top of this printed image, Degas applied touches of blue in the sky, various greens in the middle ground to suggest trees and a landscape on either side of the river, and numerous passages of pinks and burnt orange on the cliffs.

For reasons of preservation, this amazing picture may not be on view in the galleries of the MFA, but you can make an appointment to see it (as well as other works on paper that aren’t on view) by contacting Patrick Murphy (pmurphy@mfa.org), who is in charge of the Morse Study Room for Prints, Drawings and Photographs. It’s worth the trip!

-Roy Perkinson

And now a bit about Roy Perkinson...

Roy grew up in Texas, so it is not surprising that many of his pictures try to convey a sense of open spaces -- even when working in Massachusetts, where he has lived for many years, or in France, Italy or Great Britain --  and often include attention to the sky, with its various moods and atmospherics. He primarily works in oil, with its great range of textural and coloristic possibilities, but also in pastel, graphite and watercolor. His work has been shown throughout New England, and is included in the collection of the Museum of Fine Arts, Boston, as well as in numerous private collections from California to Europe. FInd out more at perkinsonpaintings.com