1. November/December 2015 Free or $5.99 mailed copy
New England's Premier Culture Magazine
ARTSCOPE PREPARES FOR ART BASEL MIAMI BEACH |
INTERNATIONAL SCULPTOR NORA VALDEZ IN NEW BEDFORD |
BIG CHANGES AT WADSWORTH, NEW BRITAIN & WORCESTER |
LYNSEY ADDARIO’S VEILED REBELLION AT THE NESTO |
SCOTT TULAY & RICHARD HELLER IN BRATTLEBORO
YOU CAN GET THERE:
BRETT BIGBEE AT THE PORTLAND BIENNIAL
THE ART BASEL MIAMI BEACH ISSUE
11
12 15

2. LESLEY UNIVERSITY COLLEGE OF ART AND DESIGN
LUNDER ARTS CENTER
NOVEMBER 8 – DECEMBER 12, 2015
reception Sunday, November 8, 2-5 pm
juror’s Willie Cole, contemporary conceptual and visual artist,
talk and juror for Boston Printmakers Biennial
Sunday, November 8, 1 pm
University Hall Amphitheater, 1815 Mass. Ave.
gallery Looking at Prints | Julia Talcott and Lois Tarlow
talks Thursday, November 19, 6 pm | Roberts Gallery, 1801 Mass. Ave.
What Makes a Great Print? | Master printer Carolyn Muskat
Saturday, December 5, 1 pm | Roberts Gallery, 1801 Mass. Ave.
student The 9th Arches Student Print Exhibition
exhibition VanDernoot Gallery at University Hall, 1815 Mass. Ave.
Concurrent exhibition dates and opening reception.
See lesley.edu/galleries for VanDernoot Gallery hours.
all events free and open to the public
2015 NORTH AMERICAN PRINT BIENNIAL
JennyRobinson,SanFranciscoCA,Infrastructure2,drypoint,27″×41″—WinneroftheOtisPhilbrickPurchasePrize
Lunder Arts Center | 1801 Massachusetts Avenue | Porter Square, Cambridge
Mon–Fri: 10 am – 5 pm (Thursday until 8 pm); Sat–Sun: 12 – 5 pm
www.lesley.edu/galleries | 617.349.8010
THE
BOSTON
PRINTMAKERS

3. Karine Léger
LANOUE GALLERY
450 HARRISON AVENUE, #31, Boston, MA 617.262.4400 INFO@LANOUEGALLERY.COM WWW.LANOUEGALLERY.COM
CONTEMPORARY PAINTING, SCULPTURE
PHOTOGRAPHY AND MIXED MEDIA
“Un Jour d”Avril”, acrylic & mixed media on canvas, 36x60”

4. THE SCHOOLHOUSE GALLERY | 494 COMMERCIAL STREET, PROVINCETOWN MA | 508.487.4800 | WWW.G A L L E R Y S C H O O L H O U S E . CO M
DECEMBER 1– 6, 2015THESCHOOLHOUSEGALLERY
Cuban Artists ADRIAN FE RN A N D EZ MILANES and ALEX MIGUEL H E R N A N D E Z DUEÑAS
PLEASE JOIN US AT BOOTH C11, 801 OCEAN DRIVE, MIAMI BEACH, FLORIDA USA
MIAMI ART WEEK

5. HOURS
Mon – Fri: 10 am — 6 pm
Thurs: 10 am – 7 pm
Sat: 10 am – 5 pm
T H R E E S TO N E S G A L L E R Y
JIM MCMANUS: Get Rhythm, oil & wax on canvas, 48 x 48 inches
115 Commonwealth Ave.
West Concord, MA 01742
978.254.5932
www.ThreeStonesGallery.com
LIGHT
LUMIÈRE
LIGERO
Nov 11, 2015 –
Jan 13, 2016
Please visit our
website for
updates on our
exhibit schedule.
Contemporary Fine Art & Photography
ALSO FEATURED:
BRUCE DAVIDSON
HOLLY HARRISON
MARGOT KIMBALL
JILL POTTLE
CARE STANDLEY
Opening Reception
Saturday, Nov. 14,
6:00 - 8:30 pm

6. Gallery Director Patricia Purdy
www.andrewdevries.com
(413) 238-7755
Lenox, MA
International
DeVries Fine Art
Destiny
your
Embrace
In progress: the monumental Other Side of Eden, winter 2015
Challenging
Times
for
Sculpture
Extraordinary
DeVries
Andrew
Sculptor

7. JOIN THE CONVERSATION
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Volume 10 • Number 5
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FEATURES
Cover story: 20
Portland Museum of Art
2015 Biennial
Featured Artist: 38
Nora Valdez at Colo Colo
Featured Museums: 50
New Britain Museum of
American Art & Wadsworth
Atheneum
Featured Exhibition: 70
Katrina Then and Now at Holy
Cross
Featured Exhibition: 74
Printmakers Biennial at Lesley
Featured Exhibition: 76
Lynsey Addario at Milton
Academy
COMMUNITY
Community: 82
ArtUp Lowell
REVIEWS
ALRI at Newport 12
Land Ho! at Fitchburg 15
Hassan Hajjaj at Worcester 24
Feelers Drawing Show at BCA 28
Jules Olitski & Angus 32
McCullough at Keene State
WOOD at Montserrat 35
Scott Tulay at Brattleboro 45
Bunny Harvey at Wellesley 54
Cut.Paper.Fold at 56
Concord Art
Richard Heller at 60
Gallery in the Woods
Gabrielle Rossmer 61
at HallSpace
Robin Frisella 62
at Copley Society
William R. Davis at 63
Guild of Boston Artists
light | lumière | ligero 64
at Three Stones
Through the Lens of History 68
at Grand Circle
Head at UMass Amherst 78
Gove at Regis 80
Suzuki at UMass Lowell 81
EDITORIALS & EVENTS
Welcome Statement 8
Art Basel Miami Beach 9
Centerfold: 48
Beverley Coniglio
Capsule Previews: 83
David Brewster at Chase Young,
Healing Fibers at the Sprinkler
Factory, Call of the Ancestors
at Lexicon Gallery, Rachael
Eastman at Husson University
Exhibits 84
Classifieds 94
Publisher KAVEH MOJTABAI
Managing Editor BRIAN GOSLOW
Copy Editor ANNE DALEY
Mobile App & Tablet Newsstand Media ARTSCOPE DESIGN GROUP
Design & Layout ARTSCOPE DESIGN GROUP
Email Blast! Editor LACEY DALEY
Media Development Associate VANESSA BOUCHER
Account Executive GAIL NEWCOMB, MICHAEL PARKER
Intern EMILY PYSCZYNKSI, SHEM TANE
Writers
CHRISTOPHER ARNOTT, LINDA CHESTNEY, MEREDITH CUTLER,
CATHERINE CREIGHTON, ARLENE DISTLER, DONNA DODSON,
JAMES DYMENT, JAMES FORITANO, FRANKLIN W. LIU, PAMELA
MANDELL, J. FATIMA MARTINS, ELIZABETH MICHELMAN, LISA
MIKULSKI, GREG MORELL, KRISTIN NORD, TARYN PLUMB, MARCIA
SANTORE, MARGUERITE SERKIN, LAURA SHABOTT, JOHN PAUL
STAPLETON, LEE STEELE, ERIC J. TAUBERT, JAMIE THOMPSON,
ALEXANDRA TURSI, SUZANNE VOLMER, DON WILKINSON.
CONTENTS
Artscope Magazine
809-B Hancock Street (Rt 3A)
Quincy, MA 02170
COVER: Brett Bigbee,
Josie Over Time, 2011-15, oil on linen,
13 3/8” x 12 1/8”.
Page 12 Page 62 Page 70

8. Artscope interactive IPad
edition presents pan and zoom,
slideshows, in-depth audio/
video, links to maps of our
wanderlust reviews and more
anywhere worldwide on your
iPad. To subscribe search
Artscope in your App Store.
Welcome to artscope magazine’s
final issue of 2015, an issue we’re proud
to be sending to Art Basel Miami Beach,
where it will be exhibited and available in
the Collective Booth. Any expanded issue
is a challenging enterprise for our edito-
rial staff, even more so with the responsi-
bility of putting New England’s visual arts
communityinfrontofanationalandinter-
nationalartaudienceandcollectorbase.
As was the case this past June at Art
Basel Switzerland, artscope will be in
attendance at Miami Beach. I encourage
you to download our “artscope Universe”
mobile app that surveys all of our social
media offerings in one place on your
smartphone, iPad or reading tablet so
thatyoudon’tmissapost.Youcangetitin
yourAppStoreoronGooglePlay.
With our attention firmly on Miami
Beach, Suzanne Volmer talked to a cross-
section of regional galleries, artists and
collectors to find out how they prepare
and what they look for in attending and
presenting their work at Art Basel; her
previewopensthisissue.
When we started planning this issue,
we set out to find artists and work we
felt would bring a WOW factor, a New
England equivalent of Julius von
Bismarck’s “Egocentric System” — the
rotating dish-like work with adjoining
desk and chair its creator “rode” at Art
Basel in Switzerland; you could easily
have imagined Lady Gaga purchasing
and using it as a concert prop.
While this issue doesn’t include
anything with that level of sensory
overload attached, we are featuring a
great collection of exhibitions, artists
and newly renovated and reinvigorated
museums for you to visit and explore in
the coming months. While many galleries
traditionallyputasidetheirsoloschedules
in November and December to formulate
group exhibitions to take advantage of
the holiday season, thanks to the hard
work of our devoted artscope staff — and
a number of artists who allowed us to
visit them in their studios to preview their
work prior to it being transported to their
respective galleries for show — we’ve been
able to compile a large preview of exhibi-
tionstoseebeforeyear’send.
Many of the artists who were just
having their first solo shows when our
first issue was published in 2006 are now
being showcased in museum shows, as is
the case in the Fitchburg Art Museum’s
“Land Ho!” exhibition — reviewed in this
issuebyDonnaDodson.JamieThompson
surveyed the Portland Museum of Art’s
2015 Biennial, “You Can’t Get There From
Here.” The aforementioned Volmer made
three trips to the Newport Art Museum
inselectingherfavoritepiecesatitsannual
exhibition of Art League Rhode Island,
the organization founded by Nancy
Gaucher-Thomas and over 40 devoted
artistsin2000.
J. Fatima Martins explored the
recently finished renovations at the
Wadsworth Atheneum and New Britain
Museum of American Art, and how
ongoing changes at the Worcester Art
Museum will enhance the viewing experi-
ence of its “Hassan Hajjaj: My Rock
Stars”exhibitionthatopensNovember7.
Elizabeth Michelman contributes
three feature pieces: a long-overdue artist
spotlight on sculptor Nora Valdez, whose
work can be seen at New Bedford’s Colo
Colo Gallery this November; a thorough
review of “Feelers,” the Boston Center
for the Arts’ 24th Drawing Show; and
a look at Gabrielle Rossmer’s unique
collectionofsculpturesatHallSpace.
There are three shows having the
benefit of time in looking back on major
national and international events that
are equal to any in the country. Franklin
W. Liu visited Boston’s Grand Circle
Gallery for its “Through the Lens of
History” exhibition commemorating the
50th anniversary of the March on Selma,
a show featuring still-heartbreaking
images taken by James H. Barker. I had
the honor of meeting multi-media artist
Dawn DeDeauxatthe“Katrina Then and
Now: Artists as Witness: Part II” exhibi-
tion at the College of the Holy Cross,
and sharing phone calls and emails with
Pulitzer-Prize-winning photojournalist
Lynsey Addario, whose “Veiled Rebel-
lion” series of photographs of Afghan
womennowonviewatMilton Academy’s
Nesto Gallery is worthy of a trip, regard-
lessofwhereyou’relocated.
This issue’s centerfold contest winner,
with a metalwork theme, is Beverley
Coniglio. Thanks to our judges: Angelos
Camillos, director of the Kouros Gallery
and Sculpture Garden, Ridgefield,
Conn.; Asia Scudder, director of the Blue
Wave Art Gallery, Amesbury, Mass.; and
Andrew DeVries, director of DeVries
Fine Art Gallery, Lenox, Mass. For our
next contest, we’re looking for your
original Sci-Fi/Fantasy work; full details
canbefoundinourClassifiedssection.
Special appreciation must be given to
Vanessa Boucher, our media development
associate, and copy editor Anne Daley,
for their extra ordinary efforts that have
made our two extended 2015 Art Basel
issuespossible.
As we close another year, I’d like to
thank our writers, staff, interns, adver-
tisers and readers for their support over
the past year. If this is your first time
readingartscope,welcome.Wehopeyou’ll
consider subscribing to us — whether in
digital or magazine format — to continue
to follow New England’s arts community.
And, hint, hint, I’d like to think any art
lover would love to receive a subscription
to “New England’s Culture Magazine” in
theirstocking.
Have a safe and peaceful holiday
season.
Brian Goslow, Managing Editor
bgoslow@artscopemagazine.com
WELCOME
8 NOV/DEC 2015
Artscope staff and writers seen
out and about over the past two
months throughout New England;
for a rundown of who’s who, visit
zine.artscopemagazine.com.

9. (Editor’s note: artscope magazine
is proud to have been selected to be
included at this year’s Art Basel Miami
Beach’s Magazines section, where
we’ll be displayed amongst other
leading international art magazines in
its stands and collective booth. In this
article, Rhode Island correspondent
Suzanne Volmer provides a preview
of what to expect and how some New
England galleries are preparing for this
year’s festivities.)
Art Basel Miami Beach, sponsored
by UBS and held at the Miami Beach
Convention Center, is the world’s
leading art destination during the first
week of December with adjunct fairs,
including Art Miami, CONTEXT, Aqua
Art, Miami Projects, NADA, Pulse,
Red Dot, Scope, Untitled and Satellite,
scheduled to operate that week in the
surrounding area.
The adventure is in the willingness
to look. Artists, curators and collec-
tors consider this annual spectacle a
crucial destination that informs their
understanding of global direction while
exposing them to new talent. It is a
necessary “see and be seen” activity
that combines rubber-necking with a
buying spree. Combating over-satura-
tion while enjoying the experience is
part of the game.
As a full-blown happening, the
landscape will be rich with “something
for everybody” and a source of civic
pride that fully embraces seeing,
shopping and the party phenomenon.
The fairs are an opportunity to look
at modern and contemporary art as a
conversation heard around the globe.
As a bonus, the public is also invited
to see some of the Miami area’s most
notable private collections, including
the Margulies Collection, Rubell Family
Collection and the Cisneros Fontanals
Foundation Collection.
George Kinghorn, executive director
and curator of the University of Maine
Museum of Art — and previously the
director and curator of the Museum
of Contemporary Art Jacksonville — is
a 12-year veteran of the Miami Beach
Art Fairs. He spends a week at the Fair,
a period he considers necessary to see
all the locations exhibiting citywide.
Kinghorn starts with a quick look at Art
Basel Miami Beach and later returns for
Art Basel Miami Beach 2014 (© Art Basel Miami Beach).
closer inspection. His assistant follows
closely behind him to take notes,
freeing Kinghorn’s attention to view
art unfettered and to speak with galler-
ists and colleagues. Kingman feels that
socializing is an important aspect of
attending. Over the past decade, he has
witnessed the scene develop to include
many fair options.
Beyond reconnaissance, this is a think
tank environment for Kinghorn and a
point of purchase situation regarding
his institutional collecting. He spoke
of his satisfaction in identifying talent
early. A 2007 purchase of Nick Cave’s
FEATURED FAIR: ART BASEL PREVIEW
HEADING SOUTH TO SEE AND BE SEEN
ARTSCOPE AND NEW ENGLAND ARTISTS PREPARE FOR
ART BASEL MIAMI BEACH
ART BASEL MIAMI
BEACH
1901 CONVENTION
CENTER DRIVE
MIAMI BEACH,
FLORIDA
DECEMBER 3
THROUGH 6
NOV/DEC 2015 9

10. work from Jack Shainman Gallery at Art Basel Miami Beach for MOCA
Jacksonville has since appreciated about three times its original purchase
price. Purchases that Kingman makes tend to develop into exhibitions, as
is the case with a painting by Jack Balas that he bought at Miami Projects
from the Denver-based Robischon Gallery. This purchase will evolve into a
2017 solo show at the University of Maine Museum of Art.
The sectors included in Art Basel Miami Beach are Galleries, Nova,
Positions, Edition, Kabinett, Survey, Public, Film and Magazines (which
will include artscope magazine, following our participation earlier in the
year at Art Basel Switzerland). In the gallery area, prestige galleries like
Gagosian, with myriad locations worldwide, will share attention with
individual galleries of merit that have been vetted for their commitment
to represent art that fits into a schematic of international importance.
Getting juried into the main fair is rigorous, but it’s an attractive carrot
for those who try. Boston’s Samsøn Gallery applied for this arena, but was
wait-listed. Director Camilo Alvarez explained he also applied for NADA
and was declined. He said he “won’t be doing Untitled as in past years, and
probably will just go and walk with clients.” Often galleries aiming to move
from one tier to another, after participating for a few years at one level,
take a year off and return with freshness.
CHOOSING THEIR SPOT
Mike Carroll, owner and director of the Schoolhouse Gallery in Provinc-
etown, didn’t apply for the main fair. “I think the artwork I represent
matches well with the satellite fairs which are better suited to reach our
viewers and clients,” he said. He’ll have a booth at Scope, which he said
was “extremely successful” last year and whose curatorial arc and devel-
oping presence he’s been following. “People spoke enthusiastically of its
beauty and the strength of the work that was exhibited.”
Carroll will be showcasing the work of two Cuban artists, Adrián
Fernández Milanés and Alex Miguel Hernández Dueñas. “We think that
Scope will be a great opportunity for a wider public to know more about
their work and practices,” he said. “The preparations are interesting
because of the logistics of the studios being in one place and the fair and
gallery in another. We met recently for a week in south Florida to choose
work and make production arrangements.”
While Milanés and Hernández Dueñas are his main focus in Miami
Art Basel Miami Beach
Preview
WOOD
Montserrat College of Art Gallery
Through Dec. 5, 2015
Featuring: Damien Hoar de Galvan, Damion
Silver, Sally Tittmann, Harry Roseman,
Michael Zelehoski
An exhibition of five contemporary artists
whos work explores the materiality of wood.
Senior Thesis
Exhibition Shows
301 Gallery
Nov. 16 – Nov. 20
Nov. 30 – Dec. 4
Michael Zelehoski, Knot
(detail), 2014.
Repurposed wood and
painted plywood.
Image courtesy of
Mike Weiss Gallery
23 Essex Street | Beverly, MA montserrat.edu/galleries
Thlayo Rocha Pitta, Ocena/Atlas, 2014, Galeria Millan (Courtesy of the artist and gallery).
Chris Haub, Float for Pete Seeger, Miller Yezerski Gallery.
10 NOV/DEC 2015

11. Newport Art MuseuM FALL Exhibitions
76 Bellevue Ave. Newport, RI
newportartmuseum.org
Open: Tues.-Sat. 10-4pm Sun. 12-4pm
Also on view this fAll
REviving DuRR FREEDLEy: nEwpoRt’s FoRgottEn ARtist
september 26, 2015 – January 18, 2016
photogRAphERs guiLD MEMbERs’ Exhibition
september 26, 2015 – January 17, 2016
opEning REcEption:
Friday, september 25, 2015 5 – 7 pm
David Kendrick,
Tsunami Crush
photomontage, archival digital print, no. 1 of 5; 25 x 19 in.
Ken steinkamp,
Between Then and Now
Mixed media; 60 x 46 in.
elizabeth Duffy / Brian Miller
Key Chandelier, (detail) 2007
brass and keys.
Art League of Rhode island Members’ Exhibition
september 5, 2015 – January 3, 2016
Elizabeth Duffy & brian Miller:
A series of Minor Miracles
september 5, 2015 -January 10, 2016
Beach, he will also be looking for placements for the rest of his roster.
“We are always trying to be a lens and a doorway to the studios of all of
our artists,” Carroll said.
EDITED EXCELLENCE
Throughout Art Basel Miami Beach, and echoed in the other fairs, is the
feeling of edited excellence. A collector in many ways functions as cultural
steward of contemporary art encouraged to understand the significance
of purchases, at times balancing consideration of a previous buy against
a present instinct. Vetting is quite influential across the board. It is inter-
esting to note that Miami-area collectors have considerable influence in
their own right in shaping the conceptual direction of the smaller fairs.
This influence gives the smaller fairs greater definition.
The thrill of discoveries beyond one’s region can be a refreshing perk —
seeing the unexpected can be profound, even fun. Globalism has always
been a defining force in shaping Art Basel Miami Beach, and art from nearly
all continents is represented. In the midst of Miami’s visual plethora, one
sometimes gets the feeling that The Emperor Has No Clothes; however,
sifting through it all is where the challenge of connoisseurship enters.
Vanphouthon Souvannasane, co-owner of Providence’s Yellow Peril
Gallery, spoke recently about their choice to participate in Satellite, which
is a pop-up mini-fair that is expected to take over a hotel for the duration of
the week with a selection of solo shows. A climate of excess infests Miami
Art Week, and tying into that sense of spectacle will be Yellow Peril’s solo
artist offering at Satellite. Jennifer Avery’s fetishistic “The Beast Boutique”
is an immersive installation crafted from Hermès fabrics enriched by her
recent residency in France with the luxury goods company.
NOV/DEC 2015 11
Boston’s Miller Yezerski Gallery will be a participant in the Pulse Fair.
Howard Yezerski describes its involvement as an advertising expense for
the gallery, while business partner Ellen Miller spoke of their curatorial
decision to take three artists from their roster to Miami. This decision will
allow their booth’s presence to have a focused visual profile. Included will
be artwork by Heather Gill, Brian Zink and Christian Haub, each of whom
uses types of transparent acrylic or Plexiglas to create colorful wall reliefs
that read as paintings.
Adelson Gallery of Boston and New York will participate in Miami
Projects with one artist, Federico Uribe, whose work in this case also reads
as wall relief. The gallery expects to bring portraits made from piano keys
by the artist to Miami Beach. In the Adelson booth at BARCU in Bogotá,
Columbia, Uribe’s work received critical praise this past October for his
bullet constructs, for which there is a high demand and low inventory.
Joanne Mattera, a New York artist with New England ties (she has a
studio in Salem, Mass. and is the founder of the International Encaustic
Conference), expects to show new paintings from her “Silk Road” series
with Miami’s Projects Gallery at Aqua Art. Mattera has blogged about the
Miami Fair experience for seven years. She has a sophisticated and refined
perspective, and her explorations on the subject are deeply rooted in the
practice of informing herself as an artist to support her evolving direction.
In addition to Art Basel Miami Beach, many collectors often gravitate to
only their favorite sites among the smaller art fairs as a way of editing the
art they will see. The synergy of the high and low, the socially conscious
and the historically significant that flows into many creative statements
is a good reason to visit Miami Beach during the first week of December.
| Suzanne Volmer

12. 12 NOV/DEC 2015
As a clearinghouse, the mission of
Art League Rhode Island (ALRI) “is
to provide a venue for the growth
and encouragement of artists, to
promote high standards in the visual
arts, and to encourage community
participation and appreciation
of the greater Rhode Island arts
community.” Among their stated
objectives is to sponsor an annual
exhibition of Rhode Island artists.
This year’s “Art League Rhode
Island Member’s Exhibition,” on view
at Newport Art Museum’s first floor
hallway and main Ilgenfritz Gallery
Audrey Monahan, Fog Over Quicksand Pond, Little Compton,
photograph, 47.5” x 27.3”.
NEWPORT ART
MUSEUM
76 BELLEVUE
AVENUE
NEWPORT, RHODE
ISLAND
THROUGH
JANUARY 3
TEAM PLAYERS
ART LEAGUE RHODE ISLAND MEMBERS’ EXHIBITION
through January 3, highlights works
by mid- and late-career artists.
Newport Art Museum curator Nancy
Grinnell strengthened the connec-
tivity of the 75 artworks in the show
by installing the offerings as well-
considered visual groupings.
By clustering related artworks,
Grinnell has managed to make
some very compelling interludes of
information. The interludes anchor
individual selections and create
more impactful viewing for museum
audiences. The curator’s approach
focuses what is essentially a big
show of diverse content into an
organization of correspondences,
which gives audiences the depth of
a thought-provoking exhibit. She
presents us with a sense of pruned
abundance, which reveals the
character and quality of the art.
Among the strong groupings,
and the most individually powerful
artwork on view, is Wanda Perkowska
Coderre’s abstract watercolor
“Nature’s Gift.” This painting is
installed above Dora Atwater
Millikin’s also impressive representa-
tional oil painting, “Steel.”
Reviews
EXHIBITS, ARTISTS AND PERFORMANCES
ACROSS NEW ENGLAND & BEYOND

13. The horizontal sight line on an adjacent wall begins with the
luxuriant and moody mixed-media “Beach with River” painting by
Libby Manchester Gilpatric that is bookended by Uli Brahmst’s “Screen
#0416141517,” an abstract synthetic polymer on canvas. The works of
Brahmst and Gilpatric are well executed, and Grinnell has used them to
balance wall space with equal weight while emphasizing content in the
artworks that are hung between them.
Audrey Monahan’s “Fog Over Quicksand Pond” is a photograph
showing sharply defined reddish-brown reeds in the immediate
foreground against a background dissolve of white, obliterating and
mysterious fog. Also worth seeing is Eric Hovermale’s “Mixed Emotions,”
a digital photographic print of a nude female with elegant calligraphy
imbedded into the image frame that can be seen floating as a layer over
the entire nude. The rippled text reads as a horizontal linear element
that runs edge to edge on the vertically oriented printed field. The
cursive lettering in Hovermale’s artwork is comparative to the painterly
detail in Brahmst’s work — one of many nice subtleties in this show.
Saberah Malik contributes a miniature totemic figure made of light-
weight fabrics that conveys a contemporary sensibility while relating to
ancient multi-cultural influences.
Both Hovermale’s digital photo-
graphic print and Reenie Barrow’s
“Easter Island Rano Raraku,” a
sepia-toned photograph, comple-
ment Malick’s aesthetic while
relating to what are essentially
comparisons of iconic subject
matter.
Marjorie Hellman’s experimental
tonal print on aluminum “MJQA3”
reflects recent technical experimen-
tation by the artist. Curator Grinnell
has hung Hellman’s work to create a
dialogue with the restrained physi-
cality of Arlene McGonagle’s three-
dimensional “Basket/Tapestry 2.”
While best known for her paintings,
Hellman recently discussed the
sublimated printing techniques
on aluminum, which she explores
with this work, that offered her the
opportunity to bring her painterly
vocabulary of geometric abstrac-
tion onto a larger scale.
Libby Gilpatric, Beach, oil, cold wax, oil stick, powdered pigment, ground pastel, charcoal and graphite dust, sand, 36” x 48”.
BY CLUSTERING RELATED ARTWORKS,
GRINNELL HAS MANAGED TO MAKE SOME VERY
COMPELLING INTERLUDES OF INFORMATION.
THE INTERLUDES ANCHOR INDIVIDUAL
SELECTIONS AND CREATE MORE IMPACTFUL
VIEWING FOR MUSEUM AUDIENCES.
Eric Hovermale, Mixed Emotions,
photograph, 24” x 96”.
NOV/DEC 2015 13

14. IMMERSED IN TRADITION
This year’s ALRI show chiefly explores traditional techniques and the
artists included enjoy process immersion. Coderre and Milikin’s paintings
examine the darkness. Gilpatric and Brahmst’s works mine a sensuality
of shifting spatial awareness. The aesthetics of Hellman and McGonagle
gravitate toward balanced structural reasoning against subdued color
choices while Richard Harrington (2D), Nancy Nielsen (2D) and Cynthia
Whalen Nelson (3D) exhibit art that is overtly color-charged.
In this show, Harrington’s painting vividly glows from within,
carrying influences of Hans Hoffmann in its execution. The sensi-
bility of Nelson’s sexualized sarcophagus, which makes a jarring
corner statement, is informed by influences of Frida Kahlo and
Judy Chicago.
Concurrently with the “Members Exhibition” at Newport Art
Museum, the Art League of Rhode Island is sponsoring “Tangible
Thinking,” a STEM-to-STEAM technology-based exhibition that
was curated by Amy Leidtke and is on view at THE VETS Gallery in
Providence through January 3.
The large-scale sculptural works of Stephen Metcalf that were
originally scheduled to appear in front of the Providence venue
can instead be seen occupying the Newport Art Museum grounds
— a last-minute site change. These fit into the context of the insti-
tution’s landscaped property, which includes other outside sculp-
tures on loan.
| Suzanne Volmer
Reviews
fullerCRAFT
museumTM
Let the art touch you
fullerCRAFT
museumTM
Let the art touch you
Grethe Wittrock: Nordic Currents
Fuller Craft Museum, September 12, 2015 – January 31, 2016
Opening Reception, Saturday, September 12, 2:00 pm, 3:00 pm artist lecture
Reception is included with the cost of admission. Lecture $7 ($15 Nonmembers)
Sarah Perkins, Seeded Container, 2003.
Enamel on copper, silver. Photo credit: Jairo Ramirez
Fuller Craft Museum ■ Brockton, MA 02301 ■ 508.588.6000 ■ www.fullercraft.org
Hours: Tues – Sun 10:00 am – 5:00 pm, Th 5:00 – 9:00 pm
Grethe Wittrock, European Magpie (detail), 2015.
14 NOV/DEC 2015
Uli Brahmst, Screen #0416141517, synthetic polymer on canvas, 50” x 40”.

15. NOV/DEC 2015 15
FITCHBURG ART
MUSEUM
185 ELM STREET
FITCHBURG,
MASSACHUSETTS
THROUGH
JANUARY 10
“Land Ho!,” the impressive new
show at the Fitchburg Art Museum
(FAM), is a must-see. Mary M. Tinti’s
sixth curatorial project is the result of
nearly one year of extensive research
on FAM’s permanent collection
utilizing her keen eye for contempo-
rary New England art. Koch Curato-
rial Fellow Emily M. Mazzola, whose
knowledge of 19th and 20th century
American Art brought to light the
personal stories behind many of the
treasures that FAM owned, assisted
Tinti. The results are surprising and
wide sweeping, pulling into focus
the evolution of landscape painting,
mark-making and myriad contempo-
rary approaches to this genre.
The exhibition is installed in nearly
all of the newly renovated galleries
on the second floor and bridge of the
museum. Nick Capasso joined FAM
nearly three years ago, and with his
appointment as director came some
bold changes. Every single gallery has
been renovated except for one, and
going forward every rotating exhibit
will be devoted to contemporary art.
ON A MISSION
“New England artists feel under-
served by their local art institutions
who have turned their sights to
national and international artists,”
Capasso said. Therefore, his mission
is to feature them at FAM. “Land Ho!”
is the second in an ongoing series
of exhibitions pairing contempo-
rary artists in conversation with the
artwork in their collection (the first
featured the still life genre two years
ago, and a forthcoming show will
focus on portraiture).
If the Fitchburg Art Museum had
mounted a show of landscape paint-
ings, drawn solely from its permanent
collection, there would be obvious
gaps. By hanging historical works in
dialogue with works by contemporary
artists, Tinti creates a conversation of
art-historical importance. Images by
Charles Burchfield, Edward Hopper,
Charles Sheeler and Rockwell Kent
Sue McNally, Maroon Bells, Colorado (from the series This Land Is My Land), 2014, oil on canvas, 90” x 114”.
LAND HO!
FITCHBURG PAIRS HISTORICAL WITH
CONTEMPORARY
are hung together, the show’s press
release noted, “in a magnificently
interspersed, intergenerational, multi-
scaled mash-up of landscapes old and
new, iconic and fantastic, universal
and personal.”
At the entrance, one is greeted by
Yvonne Twining Humber’s majestic
canvas “Haying.” Humber’s approach
to landscape was fueled by necessity.
Reviews

16. She painted during the Depression for
the WPA’s Federal Arts Project, and
since she could not afford a studio,
she worked outdoors.
The exhibit features 30 modest-
scale canvases from FAM’s perma-
nent collection alongside artwork
ranging from the intimate to the
monumental by eight contemporary
New England artists: Carrie Crane,
Sally Curcio, Leila Daw, Warner
Friedman, Michele Lauriat, Sandy
Litchfield, Shona Macdonald and
Sue McNally. Placing these artists in
the canon of art history allows us to
see the evolution from descriptive,
representational landscape styles to
political, conceptual and imaginative
renderings by a generation of artists
whose influences differ greatly from
their predecessors.
If landscape by definition evokes,
“An expanse of scenery that can be
seen in a single view” (thefreedic-
tionary.com), then this show is sure
to expand one’s definition to include
a multiplicity of approaches to the
subject. The exhibit is punctuated
by such brilliant pairings as Sally
Curcio’s “Metropolis,” with a memory
landscape from the Luba people
of the Democratic Republic of the
Congo. These historic “lukasa” are
made of wood and beads, serving as a
blueprint of royal family compounds.
Another such juxtaposition is Sandy
Litchfield’s “Turn Around Town” and
Rockwell Kent’s “Monadnock After-
noon.” Such pairings and salon-style
groupings underscore the seren-
dipitous connections between one
generation and another — literally
worlds apart.
Leila Daw’s “Calling the Earth to
Witness” is majestic, not only in the
beading technique that she learned in
an artist residency in Myanmar, but in
its deeply profound message that we
share the same water the world over.
In a similar vein, Sue McNally takes
an iconic approach to landscapes in
her “This Land is My Land” series,
where she represents each of the 50
states in a single canvas. Artists such
as Carrie Crane expand our notion of
landscapes to include map-making;
her layered pieces remind us of
topographical hiking maps.
Warner Friedman’s architectur-
ally influenced paintings are crafted
into bent and shaped canvases that
evoke sight lines. His works blur the
line between interior and exterior
landscapes. Likewise, Michele
Lauriat’s work observes the organic
shapes of the landscape as they
interact with the geometric shapes
of the built environment. Perhaps the
most quirky of all are Shona Macdon-
BY HANGING HISTORICAL WORKS IN DIALOGUE
WITH WORKS BY CONTEMPORARY ARTISTS, TINTI
CREATES A CONVERSATION OF ART-HISTORICAL
IMPORTANCE.
LEFT: Michele Lauriat,
Untitled from the series
Beyond/Return, 2014, mixed
media on paper, 65” x 55”.
RIGHT: “Land Ho!”
installation view (courtesy of
Charles Photographics).
16 NOV/DEC 2015
Reviews

17. NOV/DEC 2015 17
ald’s landscape scenes with familiar interruptions of traffic cones,
driveway reflectors and dig safe flags.
I came to several conclusions after seeing this show. With the
advent of photography, the realistic landscape paintings of one
era gave way to a more subjective approach, resulting in quirky,
enigmatic abstractions referring to place. One wonders if anyone
would even categorize these contemporary artists as landscape
artists if it were not for the context of this show.
As a case in point, Sally Curcio builds landscapes of both real and
imaginary places such as Miami Beach and the Sherwood Forest
using small beads. In addition, she creates large-scale photographs
of these intimate scenes that translate the literal renderings of the
landscapes into visual textures and colorful patterns. Hers are the
only sculptures and photographs in the show, and both media add
depth and dimension to the presentation and pacing of the exhibi-
tion rooms.
“Land Ho!” was the sailors’ cry in announcing the sight of land.
Yet, in this context, I think it calls attention to a new era for the
Fitchburg Art Museum and its exciting approach to curating and
exhibiting its permanent collection in connection with contempo-
rary artists from New England.
| Donna Dodson
Carrie Crane, Braided Stream Non-Conformity, 2010, acrylic on Lexan, 12” x 36”.

19. 1-617-699-6401

20. PORTLAND MUSEUM
OF ART
7 CONGRESS STREET
PORTLAND, MAINE
THROUGH
JANUARY 3
You can’t get there from here. This timeworn Maine
saying has become a kind of cultural touchstone for the
state, like blueberries or lobster. But Alison Ferris, curator
of the John Michael Kohler Arts Center in Sheboygan,
Wisconsin, found a decidedly more artistic application
for the adage. Ferris, who curated “You Can’t Get There
From Here: The 2015 Portland Museum of Art Biennial,”
was inspired by how the saying seems to sum up the
indirect, challenging and at times frustrating creative
process. Visual artists often follow winding routes to go
from inspiration to final product, guided by a combination
of creativity and craft.
The 32 artists in this year’s Biennial — the museum’s
ninth — represent established and emerging talent in
contemporary art with strong connections to Maine.
This is the first year that the museum has conducted the
Biennial purely through invitation. The result is a compre-
hensive exhibition that is also focused. There is a wide
range of styles and techniques on display, but all relate
to Ferris’ initial inspiration; these artists demonstrate the
importance of the creative process, however circuitous it
may be.
Upon entering the exhibition, viewers are met with
the intense gaze of Josie, the subject of Brett Bigbee’s
painting, “Josie Over Time.” Her direct stare is startlingly
life-like, as are her porcelain skin and plump lips. A dark,
moody sky and rough sea stand in contrast to Josie’s
luminescence. Bigbee’s mysterious piece sets the tone for
YOU CAN’T GET THERE FROM HERE:
THE 2015 PORTLAND MUSEUM OF ART BIENNIAL
Stacy Howe, Profane Maine, 2015,
ink, charcoal, acrylic and graphite
on paper, 48” x 60”.
20 NOV/DEC 2015
COVER STORY

21. the exhibition, piquing viewers’ curiosity about the dispa-
rate works on display.
They’re also greeted by variety of baskets made by
Native American artists who demonstrate the perfect
blend of process and panache. Jeremy Frey, a Wabanaki
artist, is especially noted for his combination of tradi-
tion and innovation. He makes his own wooden forms to
achieve contemporary shapes for his baskets, which are
woven from time-honored materials. His 2013 “Basket”
has an exquisite urn shape, with an asymmetrical collar
around the top. The contrasting dark and light tones add
to the piece’s striking modernity.
TRADITION GOES GREEN
Theresa Secord, another Wabanaki artist, adheres
closely to tradition by using antique wooden forms. A
popular traditional shape, the acorn, is crafted from ash,
sweetgrass and cedar in Secord’s graceful “Acorn Basket.”
The warm tones of the cedar contrast beautifully with the
pale greens of the sweetgrass. Brown ash is typically an
essential material for Wabanaki basket makers, as it is
a pivotal symbol within the tribe’s creation story. But as
brown ash is endangered, Secord has begun using cedar
for her baskets. Her ingenuity speaks to the importance
of resiliency in the face of adversity.
George Neptune, a Passamaquoddy artist, creates
baskets that break from tradition in fanciful style. His
“Wedding Cake” is embellished with bands of bright color
and natural branches, sprouting diminutive flowers and
housing tiny birds. Neptune’s attention to detail, delicate
craftsmanship and stunning creativity are extraordinary.
In contrast to the elegance of the baskets, much of
the work in the Biennial is unapologetically big and bold.
Meghan Brady’s colorful abstract oils, featuring huge
brushstrokes and vaguely geometric shapes, complement
Richard Van Buren’s madcap sculptures. Made of clear
Meghan Brady, Spring
Moon Dog, 2015, oil on
canvas, 51” x 42”.
NOV/DEC 2015 21
Brett Bigbee, Josie Over Time, 2011-15, oil on linen, 13 3/8” x 12 1/8”. Sarah Sockbeson, Basket, 2011, brown ash, sweetgrass and antler, 4” x 3 1/2” (Hudson Museum,
University of Maine).

22. casting polyester resin tinted with bubblegum-hued pigments, his
sculptures are bizarre and enchanting. Suspended within the resin
are myriad objects, such as plastic pearls, rhinestones, feathers,
tiny seashells and glitter. They feel like physical manifestations of
an artist’s creative mind, with explosions of color and texture.
John Bisbee’s tornado-shaped “Hearsay” is a massive sculpture
of metal spikes curved into a swirling vortex. It is a marvel that
Bisbee is able to coax organic, undulating forms out of tough,
unforgiving materials. Featuring similarly clever use of material is
“To Mend: #3” by George Mason. At first glance, the piece looks like
a quilt of layered rectangles of fabric; it then takes on the appear-
ance of metal as one gets a closer look. Mason’s deft handling of
a variety of media — plaster, burlap, casein paint and encaustic —
results in a work subdued in color but rich with texture and dimen-
sion.
Dominating the atrium space within the exhibition gallery is
Anna Hepler’s “Reveille,” a gigantic hanging sculpture of steel wire
woven around a metal armature. Although light and airy in appear-
ance, “Reveille,” is a work painstakingly crafted through a process
that Hepler likens to “drawing in space.”
Stacy Howe’s drawings are two-dimensional, but no less impres-
sive. Her ink, charcoal, acrylic and graphite drawings look like
surreal collages of seemingly random objects. For example, “Shark
Cover Story
22 NOV/DEC 2015
Fuselage of Antiques and Memorabilia” features four sharks
swimming through an assortment of antique chairs, bent cutlery,
jewelry and even a ceiling fan. Tapping into her subconscious,
using a surrealist process known as automatism, Howe gives form
to the intricacies of the imagination.
“Dreaming of Possibilities” by Owen F. Smith is an interactive
new media installation that also aims to capture the creative spark.
Four LCD monitors playing four different films are suspended from
the ceiling and positioned above mats on the floor. Viewers are
meant to lie on their backs to watch the films, mimicking Wilson’s
own experience of creating them. He laid on his back in the grass,
and filmed the sky as he contemplated clouds passing by and birds
in flight. Letting his mind wander, he stopped the film at the exact
moment when inspiration struck.
Viewers are thus able to contemplate Wilson’s thought process,
dreaming up their own possibilities for what exciting ideas may
have leapt into Wilson’s mind. It is a fascinating and unusually
intimate experience to feel connected to the artist’s creative
process. This gets at the heart of what “You Can’t Get There From
Here” is all about: the strange and beautiful alchemy of making art.
| Jamie Thompson

24. HASSAN HAJJAJ’S ROCK STARS
ROCKIN’ THE CASBAH AND BEYOND
With great rhythm and swanky
style, photographer-filmmaker-
designer Hassan Hajjaj brings his
inclusive visual language to the
Worcester Art Museum (WAM) this
November. His bombastic site-specific
exhibition, “My Rock Stars,” is a
music video installation presented
in dialogue with photographic
portraits of featured musicians and
performers.
Full disclosure: While I did listen to
Reviews
examples of Gnawa (a beautiful tradi-
tional North African musical style
rooted in the history of slavery and
featured in the installation) in order
to deconstruct Hajjaj’s art for this
review, I couldn’t stop thinking about
“Rock the Casbah” by The Clash
(1982), which to me seemed to fit the
subversiveness of the exhibition: “But
the Bedouin they brought out the
electric camel drum, The local guitar
picker got his guitar-picking thumb,
As soon as the Shareef had cleared
the square, They began to wail…”
Hajjaj’s style, grounded in the
practice of community collabora-
tion, is a European-African-Arabic
blend referencing deep transnational
ancestral cultural traditions and
history. His installation spotlights the
power of performance and musical
theatre as a form of free commu-
nication and commodity. Because
he transforms the mundane and
unknown into celebrity, he is consid-
ered the “Andy Warhol of Marrakech.”
Video and photographs are
displayed within a unique room
designed by the artist to be an
immersive environment achieving
the dynamic aesthetics (layers of
bold color, shapes, pattern and
sound) of an international bazaar,
recreating the interior space of a
Moroccan souq. The walls of Hajjaj’s
24 NOV/DEC 2015
WORCESTER ART
MUSEUM
55 SALISBURY
STREET
WORCESTER,
MASSACHUSETTS
NOVEMBER 7
THROUGH
MARCH 6
VIDEO AND PHOTOGRAPHS ARE DISPLAYED
WITHIN A UNIQUE ROOM DESIGNED BY THE
ARTIST TO BE AN IMMERSIVE ENVIRONMENT
ACHIEVING THE DYNAMIC AESTHETICS . . .
OF AN INTERNATIONAL BAZAAR
Helen, the Venus Bushfire, 2011, metallic lambda print on 3mm white dibond, 53 1/2” x 39 5/8”
(Courtesy of the artist and Taymour Grahne Gallery, New York).

25. 11 Interlaken Road, Lakeville, ct | Open Daily | 860.435.3663 | hotchkiss.org/arts
field kallop
November 7 - December 13, 2015
receptioN aND performaNce: November 7, 4 - 6 p.m.
the melody of structures
room are wallpapered in motif patterns derived from the shapes of
common goods, and a special display area was constructed to hold
grocery store items. The creation of this kitschy-pop environment
was done in collaboration with WAM’s curatorial, education and
public engagement staff, who went shopping at local international
markets in Worcester to gather the necessary materials.
KEEPING IT REAL
The exhibition’s focus is Hajjaj’s 2012 video “My Rock Stars Experimental,
Volume I,” featuring nine separately filmed musical performances. His
“rock stars” are real musicians and performers whom the artist befriended
and later staged their fame within a music video setup. Hajjaj designed the
clothing as well as the backdrops. He also made high-fashion portraits of
the nine performers, as is commonly done in the music industry. The photo-
graphs are mounted in handcrafted frames made from various recycled
objects. The use of cast-off items highlights the vast amounts of disposable
trash-stuff available globally as design material.
Hajjaj’s style rejects a utopian minimalist ideal for a maximalist reality,
and initiates a question: Can we find and do we want silence within all this
visual and musical layering? The look also evokes periods in recent history
when North Africa was extremely fashionable (think about the glamour
associated with Yves Saint Laurent, the Rolling Stones and Paul and Talitha
Getty in Marrakech and Tangier).
WAM is hosting Hajjaj because his content connects to interests within
the community as well as the museum’s international collection. Worcester
is an economically diverse immigrant city with a manufacturing tradition.
The expanding global population has roots not only in Europe and Latin
America, but also in Africa and Asia. These communities have and are trans-
forming the look and feel of the city.
Second, Hajjaj continues a very rich tradition of specific African portrait-
photography. An excellent example for comparison is the work of the
master African portraitist Seydou Keïta (1921-2001). Hajjaj also honors
the importance of African and Arabic traditional print and textile design,
weaving and fabric making. Textile patterns can communicate political and
religious ideas and hold important cultural significance related to identity
and place.
For comparison, visitors should examine the photographs of Aleppo,
Syria by photojournalist Franco Pagetti. The images in “Veiled Aleppo”
(in WAM’s Hiatt Gallery until February 28, 2016) capture the structure of
hanging domestic sheets outdoors during wartime. The dirty and torn
home textiles show us that civil war is family violence.
Connections can be also made to the geometric painting of Worcester
artist Terri Priest, presented in the museum’s Art Since the Mid-20th
Century Gallery. “Static Variations: Blue x 2” (a recent acquisition on view
until December 13) is painted in a deep cobalt color with alternating brown
and white stripes, prevalent designs in global art. Priest was a civil rights
activist and her work is imbued with sophisticated messages about gender
and racial equality. Hajjaj, Pagetti and Priest are communicating different
aspects of the same world story: cultures mix and cultures clash (“Shareef
don’t like it, Rock the casbah.”)
Finally, for art theory purists: Hajjaj exemplifies the newest category and
contentious art definition — the metamodern. What his work represents is
the rise of contemporary non-European culture as economic and cultural
force in the time of complicated technology, rapid globalization and the
Mr. James, 2009, metallic lambda print on 3mm white dibond, 53 1/2” x 39 5/8”
(Courtesy of the artist and Taymour Grahne Gallery, New York).
NOV/DEC 2015 25

26. Reviews
26 NOV/DEC 2015
New Art Center
in Newton
617.964.3424
www.NewArtCenter.org
61 Washington Park, Newton, MA
CONNECT WITH ART
CREATE ART • LEARN ABOUT ART • VIEW ART
CALL FOR CURATORIAL PROPOSALS:
DEADLINE: JANUARY 25, 2016
The Curatorial Opportunity Program is now accepting
proposals for contemporary art exhibitions.
Learn more and apply at www.newartcenter.org/COP
ON VIEW NOVEMBER 6 - DECEMBER 19
Decoys And Devices, curated by Liz Blum
CONCURRENTLY: Line Up: Janes Cusano, Julie Fox,
Margaret Scoppa, and Ina Zilber
Register Now for Winter Classes & Workshops!
Boubacar Kafando, 2010, metallic lambda print on 3mm white dibond, 53 1/2” x 39 5/8”
(Courtesy of the artist and Taymour Grahne Gallery, New York).
wealth-gap. The static between rich and poor is visible by the lust for
fame and luxe design trends, promoted via media, versus the acces-
sible everyday street styles embraced by everyone. Hajjaj makes visible
economic reality: out of necessity, we are transforming our cheap goods
into luxurious fashionable items. We are living in the era of DIY.
In a joyful and fun way, Hajjaj engages us in a serious ongoing conver-
sation about migration, democratic cultural exchange, and shifts in
language and ideas while he initiates questions about the experience
of interacting with overwhelming consumerism. He’s teaching us,
through immersion and friendship, how we can recycle materials, how
we should reframe our language about people, and how to blend visual
and musical styles. We’ve experienced these ideas before in a different
format: consider the American Jean-Michel Basquiat, and how his art
explored dichotomies of wealth versus poverty in urban America.
“Hassan Hajjaj: My Rock Stars” is only one of the many participatory
exhibitions at WAM. This exhibition represents a shift in method and
attitude that has taken years for the museum to implement success-
fully. After a period of foggy focus, programming has started to make its
“unique narrative” clear to visitors.
On November 14, during WAM’s Community Day, which will have
a Global Art and Music theme, Hajjaj will be at the museum to make
portrait-photographs of visitors while they are engaged in dance and
movement within staged areas decorated with his uniquely designed,
Afro-Arabic textile patterns and furniture.
| J. Fatima Martins
Assisting collectors, both seasoned and
emerging, in search of beautiful and
compelling works of fine contemporary art.
MillerWhiteFineArts.com
Garden Court, 708 Route 134, South Dennis, MA
508.360.4302 Open Year-Round by Appointment
William Hemmerdinger, Bardez, 48 x 116”
Howard Barnes, Eye of the Butterfly, 36 x 108”

27. LEAVING OUR MARK
In Celebration of the Pencil
2 0 1 5 P R E M I E R S P O N S O R
21 Edwards Street, Springfield, MA 01103 • 800.625.7738 • springfieldmuseums.org •
NOVEMBER 24-MARCH 27
Sixty-two works on paper by artists renowned for their
contemporary and representational drawings. Featured
artists include Lesley Cohen, Lisa Henry, Ryan Jacque,
Elizabeth Kostojohn, Christina Mastrangelo, Scott Tulay,
and Steve Wilda (Massachusetts), along with Paul Batch,
Doug Gillette, Luciana Heineman, Bill Simpson, and Alan
Spellman (Connecticut) and Terry Miller (Maryland).
The exhibit also includes works by Jennifer Maestre and
Dalton Ghetti, who both use pencils to create imaginative
and intricate contemporary sculptures.
Media Sponsor
Dalton Ghetti, Hanging Heart, 1994, photo by Sloan Howard, DTHPhotography; Lisa M. Henry, Rhythm and Strings, 2011; Lesley Cohen, Where Do We Go From Here?, 2009.
Media Partner
Organized by Western Massachusetts artist Steve Wilda.

28. 28 MAR/APR 2015
MILLS GALLERY
BOSTON CENTER
FOR THE ARTS
539 TREMONT
STREET
BOSTON,
MASSACHUSETTS
THROUGH
DECEMBER 20
Erika Baglyas, Meaning of
Safety, 2015, indigo drawing,
ink on paper, 19” x 24”.
Flat, Flatter, Flattest.
“Feelers,” the Boston Center for
the Arts’ 24th Drawing Show at the
Mills Gallery, is a biennial juried
selection of 60 works from 56 artists
hailing from as close as the Boston
area to as far away as Iceland.
Visiting curator Susan Metrican,
director of the arts at Brandeis
University, sought to capture a
“certain something” about contem-
porary drawing practice through
associations to Edwin A. Abbott’s
romance “Flatland,” a dystopia of
a two-dimensional world. The flat
inhabitants of this plane can only
know others by reaching outside
their own perimeters to “feel” them.
Feeling, however interpreted, may be
an essential component of all forms
of art. But Metrican’s exploration of
the term seeks to pinpoint how some
“drawings” heighten our awareness
of what qualifies as “flat.”
Risking a painterly touch, Metrican
has grouped works in different
areas according to their color. In
one alcove, glowing yellow, beige
and ochre tones successfully draw
together unlike forms. But the device
may work too well. It distracts atten-
tion from the internal coherence of
individual works and the more subtle
ways in which many of them connect.
Uniform color planes affect our
perceptions of flatness and depth.
The first piece in the show, which may
be better appreciated when leaving,
is Liz Nofziger’s “Ground Lock,”
cutouts of transparent orange vinyl
covering the gallery’s front windows.
The filter separates the “dimension”
of the art gallery from the street. It
puts a frame around movement in
the outer world, and it emotionally
distances the viewer by canceling
out nature’s expected hues. Also
in the same room, testifying to the
immateriality of the perceptual plane,
is a curious drawing by Jenene Nagy.
“P5’s” burnished expanse of graphite
marks appears to float above the
paper at least an inch off the wall.
Around the corner, in prickly contrast,
hangs Heather Clark’s grass-green
wall relief, “Catoctin Mountain.” An
eight-foot-tall isometric map stitched
together from layers of AstroTurf, it
clearly qualifies as a “feeler.”
Tickling is a metaphor and a feeling,
too. In her installation “Evolving
Coasts,” Carly Glovinski invites us
to seat ourselves on a folding beach
chair with a pretend book bearing a
painted landscape on its cover. The
bubbly, bilious green face with orange
piercing in Zachary Herrmann’s
foam sculpture, “Portrait 3,” could
almost be a putrid slice of ham. But
in the reverse side’s ethereal strokes
and fluorescent globs, one begins to
suspect a more complex personality.
Several works reinforce sensa-
tions of flatness while reflecting the
Reviews
PUTTING OUT FEELERS
BCA’S 24TH
DRAWING SHOW
28 NOV/DEC 2015

29. viewer’s vertical stance. Wall-huggers include Samantha Fields’
hanging of woven cloth and drooping skeins (“Of Two Minds”), and
Rachel Frank’s “Protective Cape,” an outsized Native American
medicine bag, beaded and tufted. Brian Christopher Glaser’s
“Veronica,” a drift of sheer polyester voile imprinted with glowing
tresses from shampoo ads, drapes voluptuously onto the floor.
Sculptor Jill Slosburg-Ackerman makes a small space mysterious
in her segmented wooden “Constructed Drawing.” Vertical and
horizontal sticks chase each other around the periphery of this
wall-mounted cube, which bears some resemblance to a bellows
camera turned inside out. A blotchy lavender panel in front may
hint at an exposed photographic plate.
Time is charged with dimensionality in Gary Setzer’s video
“Horizon Pull,” in which a crouching man retreats endlessly from
the camera while scooping a line in the sand with his hand. In her
projected video “Collage,” aligned with a corner wall, Rebecca
Newhouse shifts the viewer’s attention from a sense of narrative
to abstraction. The viewer follows in fascination a pair of choreo-
graphed hands waving, swimming and cradling each other, but with
time refocuses on the abstract flux of positive and negative spaces
within the “frame.”
One is tempted to compare this image with Corey Corcoran’s
inkjet print, “Grasp,” located in another room of the gallery. We
focus immediately on the specific gesture of two hands clasped as
if in supplication. But look again — how could our eyes have failed to
grasp the eerie falseness of the overlapping digits, rendered in pink
clay?
Compelling forms abound. Ellen Rich’s “Punch,” a floppy grid of
freestanding circular paper cutouts thick with oil-pastel, celebrates
the materiality of its bold colors. More aggressively, in “Blue Gun,”
Eric Stefanski undercuts the calming steel-blue surface of his foam
insulation panels by peeling and pinning back the foil skin; slashing,
gashing and slathering paint on the raw interiors; and scrawling
invective with the wrong end of a paintbrush.
Maxine Yalovitz-Blankenship’s heroic “Portrait of the Artist”
subdues an unruly surface of nine individual canvases with a formal
grid. Each section, canvas on canvas, alternates thunder with calm
— she crumples and pastes down cloths and boldly strips them away,
whales away with acrylic paints and impastos, and shakes it all up
with strong contrasts of bright, stained colors and pure white relief.
Even where emotion appears flat, feeling may abide. In “Desktop
#2,” Mark Schoening’s colorful pixilated designs inlaid like
marquetry into a grey substrate bespeak a love affair with his
computer screen. And anxiety and doubt may underlie the soft
silverpoint tracing in “Heads, Tails” of Andrew Mowbray’s repeated
tosses of a (flat) quarter onto a (flat) surface.
Small but not least, Erika Baglyas’ “Meaning of Safety” persuades
us that big and impressive may not be the only winning strategy. Her
unpretentious drawing of indigo ink on a stark white sheet almost
bores a hole in the wall out of proportion to its size. Whatever its
meaning, the dark, sail-like forms weighing against a cloud of scrib-
bles are pure delight to the eye.
| Elizabeth Michelman
NOV/DEC 2015 29
Corey Corcoran, Grasp, 2015, inkjet print, 1/10, 11” x 11” (photo: Melissa Blackall
Photography).
Liz Nofziger, Ground Lock, 2015, translucent vinyl, variable dimensions (photo: Melissa
Blackall Photography).

30. AShowofContemporaryArt,Craft,andDesign
artists selling work
in jewelry, clothing,
home décor, &
furniture
175
DEC.11–13, 2015
Hynes Convention Center, 900 Boylston Street, Boston
Friday & Saturday:10–6; Sunday:11–5
Holidays & Highballs preview party Dec. 10!
PRESENT THIS AD
FOR $3 OFF ONE
GENERAL ADMISSION
Wreath:StaceyWebber
NICK
OFFERMAN
Sawdust & Mirth
Fri, Dec. 11 • 1:30PM
Tickets at www.societyofcrafts.org
Real-life woodworker Nick
Offerman of NBC’s Parks
and Recreation talks about
why handmade matters.
Followed by book-signing in
CraftBoston.
photocredit:EmilyShur
Presented by
THE SOCIETY OF
ARTS AND CRAFTS
175 Newbury St. Boston
www.societyofcrafts.org

31. Through December 18 | Closed November 25 - 29 for Thanksgiving break
Katrina Then & Now: Artists as Witness
AN EXHIBITION IN TWO PARTS
Liberty, 2011, Generic Art Solutions, photograph courtesy of Jonathan Ferrara Gallery, New Orleans, LA
Part II:
The Rebirth of Art
B O S T O N P R I V A T E B A N K
A V I S U A L F E A S T
Opening November 17, 2015
D A Y T O N H O M E W e l l e s l e y
R E V O L U T I O N S
O F W I N T E R
B R I A N D U B I N A
S I M P L Y R E A L
11.12.15 - 12.24.15
158 Newbury St, Boston, MA 02116
p:: 617-536-5049 e:: info@copleysociety.org w:: copleysociety.org
Tuesday -Saturday 11-6 | Sunday 12-5 | Monday by appointment
R O B I N F R I S E L L A
Opening November 1, 2015
R E D R O O M G A L L E R Y
detail: Apple Reflection by Robin Frisella
detail: Red, White and Blue, by Jeanne Rosier Smith
detail: Through the Glass by Brian Dubina
NOV/DEC 2015 31

32. OLITSKI AND MCCULLOUGH IN NH
The paintings and prints in the
Jules Olitski “Lakes, Mountains,
Seas” exhibition currently on view
at Keene State College’s Thorne-
Sagendorph Gallery show an artist
who was still in full command of his
creative powers in the last decade of
his life. He died in 2007 at age 84.
The show consists of paintings the
THORNE-
SAGENDORPH
GALLERY
KEENE STATE
COLLEGE
229 MAIN STREET
KEENE, NEW
HAMPSHIRE
THROUGH
DECEMBER 6
Reviews
ANSWERING THE CALL OF THE WILD
32 NOV/DEC 2015
Jules Olitski, Sea of Paradise, 1998, acrylic on canvas, 60” x 84” (photo by Rachel Portesi).
Reviews
artist made on site during — or that
were inspired by — his summers on
Bear Island in Lake Winnipesaukee
in New Hampshire. He built a studio
there, and his family has had a house
on the lake since the 1970s.
Olitski had a special relationship
with the Thorne-Sagendorph, which
the gallery honors with this show,
part of a celebration of its 50th
anniversary.
“Sea of Paradise” (60” x 84”) is
perhaps the “WOW!” painting in the
show. It is front and center as one
enters the first room of the exhibit.
Yellows and oranges thrust up like
molten lava, meeting purple, wine-
red mountains and gray sky. These

33. elements, though, are not clearly
tethered to near or distant ground,
horizon or sky. The initial impact,
rather, is of an artist in love with
paint and painting. Olitski was clearly
a prodigious force as an artist — he
was in his seventies and eighties
when he created this work.
Olitski was at his best when the
sweeping physicality of his painting
had full reign. In the large paintings,
the acrylic gels could be applied
almost as clay, building up motion
and texture. But these landscapes,
unlike his purely abstract work, are
anchored and structured by what is
seen. This gives the work a gravity
and complexity that I don’t find in the
purely abstract work of his late years.
Olitski seems to have relished
getting onto the canvas as much
color as he could while still making it
work — joyously so! He seems almost
to be daring his muse and tempting
disintegration, but against all odds
“the center holds.” In a very few
paintings there is perhaps too much
paint mixed right on the canvas,
resulting in the painting becoming
dense, the color muddied, as in “Bear
Island Spirit.” But most are gloriously,
exuberantly colorist tours-de-force.
SPHERE OF INFLUENCE
In the upper middle of “Sea of
Paradise” floats a dark red orb, like a
nucleus around which all else swirls.
These orbs in Olitski’s late work evince
a profoundly spiritual sensibility — they
show up almost like a talisman. One
may be a pale yellow or searing white
sun; other times they are just there, as
Fact, as Presence. While not attached
to anything close to traditional Judeo-
Christian imagery, Olitski’s titles
frequently include biblical references
— “Heaven,” “Paradise,” “Temptation.”
However, the terms have been
unmoored from their static, codified
meaning — the paintings are mystical
rather than religious.
“Temptation Balance” has a wall to
itself in a room adjacent to the first,
and fully deserves its prominent place.
An accretion of palest, almost white
tints of pinks and yellows, contrasted
against grey-blue, it builds to a mass
that pushes at the edges, seems to
grow and shimmer before your eyes.
It is, more nearly than anything else
in the show, reminiscent of Olitski’s
“color field” work of the 1970s, but
with a great deal more texture; it
brings to mind the “pulsations” of
color of those paintings.
Despite “Lakes, Mountains, Seas”
giving so much pleasure in the
sensual qualities of paint, one of my
favorite paintings in the show, ”Magic
Passage,” is uncharacteristically
restrained, almost Japanese in the
bare means used to convey sky,
clouds and sea. The sky — a wash of
ultramarine, orange, and white with a
splash of yellow — fills more than half
the canvas; it is mirrored in a mauve
and flamingo-pink sea, upon which
a sailboat glides (sailboat is a motif
that repeats itself in quite a number
Jules Olitski, Dawn Before
the Surge, 1998, acrylic on
canvas, 40” x 48”.
of paintings here, this time conveyed
with the barest wisps of white paint).
The painting seems almost off-hand
yet is masterful in its economic use
of gesture.
NOV/DEC 2015 33
Angus McCullough, Through Line,
archival ink jet print, 32” x 24”.

34. The show includes several bronze sculptures that echo themes in
the paintings yet are entirely, inherently sculptural.
A whole room is devoted to Olitski’s smaller works on paper,
the artist seeming to use whatever medium best suited the mood
and the job at hand, including watercolor, gouache, pastels and
acrylic paint. Some are whimsical, some are dark and ponderous;
others, such as the pastel “Island View,” seem to be uncomplicated
impressions of the seen. These less polished, though at times
absolutely charming, works are a welcome insight into the creative
impulse of a man who was one of the most intense, restless and
inwardly illumined artists of our time.
NATURE, COLOR, SHAPE AND SPACE
Meanwhile, the esthetic assumptions and goals of Angus
McCullough’s sculptures showcased in “Float,” a selection of recent
works from his “Dirt, Moisture, Theft” series, could not be more
disparate from Olitski’s work next door. For all its “wildness,”
Olitski’s work still adheres to a classical esthetic — the beauty and
power of nature, color, shape and space. McCullough’s sculptures,
SUSAN STRAUSS & NANCY SHAND | POETICA
VAN VESSEm GAllERY
63 mUSE WAY | TIVERTON RHODE ISlAND
401.835.6639 | vanvessemgallery@gmail.com
VVm
NOVEmBER 14 THROUGH DECEmBER 13, 2015
ARTIST OPENING: SATURDAY, NOVEmBER 14
FROm 5Pm TO 8Pm
Susan Strauss: Discovery, oil on panel, 16” x 16” Nancy Shand: Autumn, oil on canvas, 44” x 44”
34 NOV/DEC 2015
Reviews
on the other hand, are nothing if not anti-classical, even anti-
esthetic.
The forms of his sculptures are made of expanded foam. The
immediate impact is of stuck-together lumps of “stuff,” maybe
rescued from the dump. The forms seem that arbitrary, and in fact
they are — serendipitous, as McCullough calls it. The artist has
removed himself from the process, only setting it in motion.
“Then I have to walk away,” he said. The sculptures take days
to arrive at their shape, the foam expanding through a chemical
reaction. After being coated with an oil-based enamel paint that
is floated on water to further randomize the end result, they are
attached to thin metal poles that jut into the gallery space from
the wall; others, like bizarre birds on skinny legs, stand on the floor.
A statement about our throwaway culture? McCullough stated
they are “definitely related to global capitalism.” I assume he feels
it is not a pretty picture. “Angus McCullough: Float” continues
through December 6.
| Arlene Distler

35. MONTSERRAT
GALLERY OF ART
23 ESSEX STREET
BEVERLY,
MASSACHUSETTS
THROUGH
DECEMBER 5
With so many icons crowding into our national, if not
global, consciousness, you have to wonder if wood, just
wood, holds any longer those numinous qualities we hand
out so profligately to tin-pot celebrities.
The Druids worshipped wood in the form of living trees.
And how many documents of iconic importance were
penned under the regal branches of oaks and chestnut?
Think of Boston’s own Liberty Tree, now just a bas-relief
plaque on the edge of Chinatown, or Longfellow’s spreading
chestnut boughs — crowded out by sprawl — under which the
doughty village blacksmith labored with glistening brow and
ropy muscles.
And yet, there are still some souls who roll up their
sleeves and peel back layers of prejudice assigning wood, so
unjustly, to the lumberyard of our consciousness. And where,
you might ask, I hope with some curiosity, is this renaissance
happening? In the feisty galleries of the Montserrat College
of Art, nestled nicely beside the Beverly Town Common.
Just five contemporary artists exhibiting 10 pieces carry
the flag for wood as a material fit for the artisan to work and
the artist to envision. And they start, daringly, at the bottom
of the woodpile, coaxing the divine from scrap, refuse, and
despised hybrids while flaunting their lack of polish in order
to educate our sight to wood’s inner nobility, and perhaps to
curb the hubris of the maker with exacting discipline.
It’s hard to discern in this rowdy group who takes the
bottommost starting point, but my favorite wood to overlook
starts unequivocally with plywood — just the “wood” Harry
Reviews
WOOD AT MONTSERRAT
ONLY THE STRONG SURVIVE
Roseman embraces. Plywood springs to mind mostly for
building purposes, such as strength, durability and arcane
qualities like “resistance to creep,” a hardy material hardly
fit to excite the aesthete to vapors of delight.
Perversely, ingeniously, Roseman
uses plywood like origami paper. From
the mundanity of this useful laminate
he elicits folds so graceful and so
delicate they could be mistaken for
the natural folds of a chrysalis about
to reveal a butterfly, or a leaf or
flower bud about to open. These folds
can lie flat on the floor or even creep
from floor to wall, heroically resisting
that “resistance to creep” so prized
by builders.
One of Roseman’s three sculptures
floats entirely on the wall, so deftly
and delicately creased into angles
and points it could be wet laundry
configured by a cubist wind. And yet,
under Roseman’s artful tutelage,
NOV/DEC 2015 35
BOTTOM LEFT: Damien Hoar
de Galvan, Something Could
Happen At Any Moment,
2013-2015, mixed-media
(found wood, various paints,
glue, matchsticks, iTunes gift
card, etc.), dimensions varied.
WOOD, installation view, Montserrat Gallery, 2015. Foreground:
Harry Roseman, Folded Plywood, wood; background (left to right);
Sally Tittman, Circus, 2007, wood; Damion Silver, Medicine and
Compass, 2015, pine, plywood and fire.

36. Reviews
plywood, while so many other things to the engaged imagi-
nation, is still plywood: beige, sturdy, more fit to under-gird
the perdurable comforts of our world than sport lyrically on
center stage.
NOT SO DUMB
Ditto with the reclaimed wood Sally Tittmann uses for
her sculptures “Circus” and “In the Field.” Tittmann’s wood
comes from dumpsters in Dumbo, New York, and it looks
like it. Instead of hiding its low origins, the sculptor seems
to underline them by fastening these fat pieces of lumber
together with screws, unartfully revealing their metal heads
barely sunk into a grey, weathered surface.
Once together, though unremarkably, these joinings
become the joints of limbs; in “Circus” they hold their
backbone high while prancing to a lively beat so full of
personality it could be Thoreau’s cherished “individual”
stepping to a beat all his or her own.
Tittmann’s second sculpture, “In the Field,” could well be
our “Circus” performer sent “out to pasture,” scrabbling
with multiple legs to lift its backbone off the ground of retire-
ment into some semblance of vitality. We hear it panting and
cheer its efforts. What we most feel is the pathos of a fellow
creature overwhelmed
by the life-long weight
of gravity, by the iron
rule of entropy to lie, not
without struggle, and
wait for dissolution.
Michael Zelehoski’s
woodwork, in fellowship
with his colleagues here
exhibiting, relies not on
the cachet of rarity or
surface glitter, but on an
uncanny craft of shaving
off and splicing into
challenging perspectives
the hard-lived top layers
of old boards so that
they spring from two into
three dimensions while
we look on, intrigued and
mystified.
Are these old crates
and weathered piles of lumber simple trompe-l’oeil practiced
with wonderful skill, or could they be those vintage shapes
posited in Plato’s philosophy? Are they not simply an old
crate or pile of lumber, but ideal sketches through which
every crate and board jumps into, receding from earthly
existence?
Look again at Damion Silver’s circular assemblages of
pine and plywood. I overlooked them at first as artsy evoca-
tions of game boards, dartboards more fit for a rumpus
room than a gallery. We are all liable to pre-judge in place
of more arduous judgment, but a good group show is able to
pry open the most resolutely “canned” assessment.
A closer look reveals constellations of pattern in the buttery
grain of pine and the scorched surface of plywood; what I wrote
off as precious and derivative turned mesmerizing. And the
overall pattern formed an ever-shifting macrocosm.
Finally, and not least, Damien Hoar de Galvan’s work,
which the excellent commentary calls a “curiosity cabinet,”
became “curiouser and curiouser” the more I looked. At
once dignified, loopy, profound and light-hearted, the many
small wood-based effigies inhabiting these open wall-
shelves might have graced a 1950s-era suburban ranch
house — except that instead of cute knick-knacks, these
cubbies are loaded with what looks to be an alphabet of
alchemical ambition. I had almost worked out a word of like-
minded letters when I regressed to just admiring a riddling
likeness, a composite of rhyming incongruities.
“WOOD” is certainly in the right hands at the Montserrat
Galleries in Beverly.
| James Foritano
36 NOV/DEC 2015
Michael Zelehoski, Inversion Cube, 2015, repurposed
wood and phenolic plywood, 40” x 33” x 30”.
Harry Roseman, Folded
Plywood 15, 2012, Draped and
Folded Plywood series, AC 1/4
plywood. 61 1/2” x 39” x 42”.

37. Alden Gallery
423 Commercial St., Provincetown
508.487.4230
aldengallery.com
Sharon Weiss Gallery
20 East Lincoln St., Columbus, Ohio
614.291.5683
sharonweissgallery.com
Serena & Lily
866.597.2742
serenaandlily.com
ORIGINAL PAINTINGS
Studio 314
450 Harrison Ave., Boston
617.480.7364
paulpedulla.com
ORIGINAL PAINTINGS AND FRAMED PRINTS
Vizivel
855.849.4835
vizivel.com
SPECIALLY-SELECTED FRAMED PRINTS
PAUL PEDULLA
CapeatWater’sEdge,acryliconcanvas,30”x30”
NOV/DEC 2015 37
CAROL GOVE CONTINUUM
November 9, 2015 – January 22, 2016 Artist Reception: Sunday, December 6, noon-3pm
CARNEY GALLERY, REGIS COLLEGE FINE ARTS CENTER
235 WELLESLEY STREET, WESTON, MA
WWW.REGISCOLLEGE.EDU • 781-768-7034 • GALLERY HOURS: M-F, 10AM-4PM
Nudge, 22x30, mixed media collage on panel, 2014
Verdant, 22x30, mixed media collage on panel, 2014

38. Nora Valdez’s stone sculpture
follows ancient traditions, but the
insights found in her surrealistic
visions are very much of our time.
Born in Argentina, Valdez emigrated
in her twenties to learn Italian in her
mother’s homeland and then went to
Spain on a fellowship to learn carving.
After a few years assisting in carving
public monuments there, she moved
to the United States and settled down
to raise a family.
Since then, she has lived abroad
for many months at a time in Europe,
China and South America, teaching
and carving large-scale works. Most
summers, she runs stone-carving
workshops on the grounds of a marble
quarry at the Carving Studio and
Sculpture Center in West Rutland,
Vermont while executing her own
forms. With modern power tools and
her direct feel for the stone, she can
sculpt a 10-foot-tall monolith out
of marble, limestone or granite in a
matter of weeks.
Her current summer workshops,
teaching carving to Vermont high
school students and placing their
benches in towns throughout the
state, grew out of a previous interna-
tional exchange program in Ayacucho,
Peru. Valdez taught stone carving to
indigenous students for six succes-
sive summers, and in the weeks after
her courses she obtained the mayor’s
support to work with a few chosen
assistants to create three monoliths
and 40 benches for the city’s central
Featured Artist
COLO COLO GALLERY
101 WEST RODNEY
FRENCH BOULEVARD
NEW BEDFORD,
MASSACHUSETTS
NOVEMBER 10
THROUGH 28
NORA VALDEZ: RELOCATIONS
ANCIENT TRADITION MEETS MODERN VISION
Home, 2012, ink and colored
pencil on paper, 8” x 10”.
Inside Home, 2014, Indiana limestone and steel, 72” x 24” x 18”.
38 NOV/DEC 2015

39. plaza and boulevard. Valdez continues to travel to Latin America to
organize sculpture projects and to exhibit her work.
Her art broods on a life of repeated migrations and nomadism as
a permanent condition of the heart. In order to continue in her art,
Valdez has frequently needed to shift between temporary living
arrangements, often giving up one home or studio before finding
another. She dreams and draws from her personal trials of repeatedly
transitioning among many cultures.
SINGLE SOURCE
Valdez prefers to call her forms “intimate,” regardless of size. Her
simplified figures with smooth oval faces, alone or in massive group-
ings, all derive from a single block of stone or wood. They typically
(though not invariably) focus on a female wanderer who must always
maintain her personal core in relation to others. Though nameless
and faceless, these women’s identities are embedded in the gestures,
trappings and groupings that position them in the world.
Combining surrealism and savvy, she has a gift for transforming
nearly inert human forms and commonplace objects into complex
signifiers. In her words, she “always needs to tell a story and always
adds something to the journey.” She may do this by elevating her
figures and groupings on staircases and ramps or placing them on
wheels, carts and enclosed platforms.
They trudge along with tools and children at their waists and
masses of adult figures on their backs. Figures grow into houses and
Nora Valdez with Line, 2015, basswood, pine, Indiana limestone, steel, range approximately 48” x 10” x 8” to 66” x 10” x 8”.
out of skyscrapers. A band of travelers bears a house that looks like
a casket. A foot rests on an egg that rests on a woman’s hips. Lone
women carry houses morphing into satchels or lunch bags. By giving
up their individual qualities, these beings become larger dualities of
mobility and rootedness, alienation and compassion.
Although many of her monumental works have found homes around
the world, Valdez has more recently been placing them domestically.
One massive hollowed block teeming with figures, called “Borne,” is
currently being re-situated in a public market in Rutland, Vermont.
“Inside Home,” a six-foot tower of immigrant stoneworkers and their
families crammed under a limestone roof, has pulled up stakes from
Chesterwood’s summer show of contemporary art to resettle at The
Art Complex Museum in Duxbury, Mass. Valdez has also been awarded
a commission by the Duxbury Free Library for three stone benches
and a memorial sculpture in a new Reading Garden Entrance, to be
completed next spring.
At present, she is completing unfinished works for “Relocation,” a
November show at the Colo Colo Gallery in New Bedford. Originally
intended for an exhibition she had to cancel in Lima, Peru, the new
work was to explore the Buddhist concept of the chakras, or bodily
energy fields, tying them to her themes of “the road, the maps, the
path and the [idea] of the shifting, going from one place to another.”
The show itself is now shifting to an installation restating her peren-
nial issues of immigration in relation to the mapping.
NOV/DEC 2015 39

40. WEDNESDAY - SUNDAY 11 - 5 pm
(802) 251-8290 mitchellgiddingsfinearts.com
183 Main Street, Brattleboro VT 05301
MITCHELL • GIDDINGS FINE ARTS
November 5 - November 29, 2015
PETRIA MITCHELL
Stone paths will wind around the sculptures, linking a pair of tall
wooden figures on wheels with smaller stone figures mounted on steel
ramps, stairs and frames. Valdez views her change in plans positively.
Selecting from already familiar work forces her to find new possi-
bilities of arrangements and interpretations. She is envisaging new
combinations of works with different histories and framing pieces that
had previously stood alone in relation to steel structures.
Unlike when she shows completely new work, this exhibition will not
include the drawings that are integral to her process. Valdez “draws all
the time.” Images flow “like a diary,” highly detailed and as enigmatic as
dreams. “That’s where an idea first comes, and then it will develop into a
show. The sculpture is an extension of the pen.”
Nevertheless, each body of work nurtures the next and moves Valdez
outward toward new territory. “You can’t get stuck with your problems,
you have to keep growing,” she said. “People may not connect with
things the way I do, but still they see a part, the bag, the baggage. They
compare with their own lives, and they see the connection.”
| Elizabeth Michelman
Featured Artist
Together We Can (detail), 2012, Peruvian marble and steel, 54” x 12” x 48”.
40 NOV/DEC 2015
Progress view, artist at work on The Visitor, large-scale sculpture at Sculpture
Symposium in Zhengzhou, China, 2008, white marble, 96”.

41. Uli Brahmst, Screen 304 16 14 15
17, synthetic polymer on
canvas ULIBRAHMST.COM
Ken Steinkamp, Between
Then and Now, mixed media
KENSTEINKAMP.COM
Mimo Gordon Riley, Silent Stirrings, oil on canvas
MIMOGORDONRILEY.COM
Paul M. Murray, Rounding the Mark, photography HARMONICTHREADS.COM
Barnet Fain, Late Fall
Landscape, Ed. Var. Print, mixed
media, intaglio and digital on
Mylar w/chine colle
FAINART.US
3rd row, right: William Heydt, Bart Dunbar, visionary
Leader for the SSV Oliver Hazard Perry, watercolor
WILLIAMHEYDT.COM
3rd row, middle: Kelly Milukas, Mysteries, sculpture
KELLYMILUKUS.COM
4th row, bottom: Marsha Kartzman, Hills, mixed media
monotype w/ watercolor, crayon, collage, thread,
watercolor and gauche pencil
MARSHAKARTZMAN.COM
* the art featured here is a sampling of the multi-faceted
talents of the 75 exhibiting artists
Elected Artist
Members' Annual
Exhibition* at the Newport
Art Museum
September 5, 2015 - January 3, 2016
76 Bellevue Avenue, Newport, RI
Museum hours: Tues. - Sat, 10am - 4pm,
Art League Rhode Island, One Avenue of the Arts Providence, RI 02903 . 401-861-0500 . office@artleagueri.org
Visit us on Facebook and at www.artleagueri.org

42. SOUTH SHORE ART CENTER
119 Ripley Road, Cohasset, MA
Gallery Hours: M–S 10–4, Sun 12–4
781 383 2787 > www.ssac.org
Drifting Away, Annemarie Whilton
On the
E
dge
November 13 to December 20, 2015
Opening Reception: Friday, November 13, 6–8 pm
juried by Denise Markonish
ALTclayEleonora Lecei
Judy Motzkin
Ellen Schön
Hess Gallery
Pine Manor College
400 Heath Street / Chestnut Hill, MA 02467
www.pmc.edu
FOR IMMEDIATE RELEASE: October 15, 2015
Exhibition Dates: November 15, 2015 - February 16, 2016
Artists’ Talk and Reception:
Thursday, November 19 10:30am
The Hess Gallery at Pine Manor College is pleased to present ALTclay, new trends in ceramic
sculpture by Boston-area artists Eleonora Lecei, Judy Motzkin, and Ellen Schön. The three
artists’ response to nature exists both as overt subject and internal, material structure.
Says Ellen Schön: “I have always been
interested in the ability of a ceramic vessel
to point to something beyond itself—to
function as metaphor. Ceramic vessels,
physically structured with necks, shoulders,
bellies, and feet, can evoke the gesture and
anthropomorphized stance of the human
body; they also reveal deep aspects of human
experience and of the natural world.”
Judy Motzkin painstaking manufactures hyper-
realistic stones and fossils from various clays in
her studio for the installation Sort. Judy notes
“...the installation makes them look like they’ve
Ellen Schön: “Five Hills Font” 15” x 22” x 22” Smoke-fired clay 2011
Judith Motzkin: “Sorting Box”, 14x18x5 inches, hand-built, fired clay
photosbyRussBolt
S T O V E F A C T O R Y
G A L L E R Y & S T U D I O S
SMALL WONDERS EXHIBIT
AT THE STOVEFACTORY GALLERY
SATURDAY AND SUNDAY
DECEMBER 5-6 & 12-13, 11AM-5PM
CHARLESTOWN OPEN STUDIOS
AT THE STOVEFACTORY STUDIOS
SATURDAY AND SUNDAY
DECEMBER 5 & 6, 11AM-5PM
Open to the public, free of charge
and handicapped accessible.
StoveFactory Gallery • Artists’ Group of Charlestown
523 Medford Street, Charlestown, MA 02129
617-2410130
artistsgroupofcharlestown.com
42 NOV/DEC 2015

43. THROUGH THE LENS OF HISTORY:
gct.com/grandcirclegallery @GC_Gallery
Grand Circle Gallery honors the 50th anniversary
of the civil rights march from Selma to Montgomery,
through the photography of James H. Barker.
Free Admission Wed & Fri: 12–6, Thurs: 12–7, Sat: 10–5
September 17, 2015 – January 2, 2016
347 CONGRESS STREET • BOSTON, MA 02210 • 617–346–6459
PRESENTED BY THE
C A M B R I D G E A R T A S S O C I A T I O N
30 . B E L O W
JANUARY 9 - 29, 2016
JURIED BY MARY T. TINTI
CURATOR, FITCHBURG ART MUSEUM
OPENING RECEPTION
JANUARY 14, 6 - 9 PM
KATHRYN SCHULTZ GALLERY
25 LOWELL STREET
CAMBRIDGE MA, 02138
617 876 0246 | INFO@CAMBRIDGEART.ORG
CAMBRIDGEART.ORG
CAMBRIDGEART/
@CAMBRIDGEARTORG
@CAMBRIDGEART
FIND US ON SOCIAL MEDIA
NOV/DEC 2015 43
December 5 & 6
from 12-6pm
6 & 20 Vernon St. Somerville, MA
www.vernonstreet.com

44. 44 MAY/JUN 2015
SOLOMON’S COLLECTION & FINE RUGS
Old man selling rug
Fine, hand-knotted pictorial rug.
Wool with silk highlights.
2’ x 3’
809 Hancock Street (Rt 3A), Quincy, MA 02170
phone 617.779.1900 | fax 617.770.9100 | email info@solomonrugs.com
www.solomonrugs.com

45. I happen to love color — the more
bold and brash, the better. I also
have a proclivity toward figurative
depiction and symbol. So how is
it that I have been so taken by the
monochromatic work of Scott Tulay,
a sorcerer of black, white and gray?
I first came across his work many
years ago. My first Tulay encounter
was with his depictions of the
skeletal remnants of ancient New
England barns teetering on the brink
of oblivion; charred by fire, age and
neglect, these relics were balanced
on the edge of total collapse.
The landscape of the Western
Massachusetts valley towns of
Upsurge, charcoal graphite,
pastel ink on paper, 60” x 132”.
BRATTLEBORO
MUSEUM AND ART
CENTER
10 VERNON STREET
BRATTLEBORO,
VERMONT
THROUGH
FEBRUARY 8
DRAWING ON, IN, OUT
SCOTT TULAY IN BRATTLEBORO
Sunderland, Hatfield and Hadley is
dotted with outworn tobacco barns,
and Tulay’s own grandfather was a
Hadley tobacco farmer. He fondly
remembers his Polish grandmother
rolling her own cigars and puffing
up clouds of the pungent smoke.
These barns resonated with Tulay in
a visceral way, and their weathered
bones may have circumscribed a
longing for a lost past.
However, his new magnum
drawings showcased at the Brattle-
boro Museum and Art Center as part
of a group show entitled “Drawing On,
In, Out” delve into a new direction.
Currently an architect working in
Northampton, Tulay is a graduate
of MIT, where he studied under the
tutelage of T. Kelly Wilson, who was
celebrated for his mantra, “See like
an artist, think like a designer, feel
like a human.”
Aside from the staggering
monumental size of his new work,
Tulay has left the terrestrial plane.
A dynamic energy that could be
sub-atomic, or a probe, propels his
new work into the dark energy of
the celestial. Tulay is dancing in a
world of imagined possibility on
the cusp of the unknown, driven by
natural inclination and a sense of
serendipity. Suffused with mystery,
Reviews
NOV/DEC 2015 45

46. his work makes me recall a line from one of the diatribes of Jim
Morrison, “Out here in the perimeter, there are no stars; out here,
we is stoned — immaculate.”
Tulay’s murals are executed on wide rolls of a heavy weight paper
with a textured tooth, and he equates his drawing technique to the
process of weaving. His illustrative tools are powdered graphite,
charcoal sticks, shaved pastels and ink. His method of application
utilizes cotton balls, rags and lace. His most interesting technique
involves dipping lace in ink and dragging it across the paper yielding
results that are spontaneous, unexpected and intriguing.
The centerpiece of this collection is Tulay’s newest work, “Lift,”
an enormous work measuring 9 feet high by 10 feet in length.
An investigation of the ambiguity of space, here Tulay creates
a whirling gyre of light. Light, a dynamic and ephemeral force,
courses through the work, wild, untamed, yet creating a sense of
equilibrium.
“Drawing On, In, Out” complements Tulay’s explorations with the
work of Cristina de Gennaro, Terry Hauptman, Monique Luchetti,
Craig Stockwell and Jane Sutherland. The exhibition’s intent is to
illustrate the variety and scope of contemporary drawing.
| Greg Morell
Reviews
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Scott Tulay in studio working on his drawing, Lift.
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46 NOV/DEC 2015

47. MAY/JUN 2015 47
413-854-7744
Marilyn Kalish
Vault Gallery
cool and green
45 x 85
www.marilynkalish.com

48. NOV/DEC 2015
CENTERFOLD
CONIGLIOCONIGLIO
BeverleyBeverley

49. Influenced by Art Nouveau, Art Deco, the Victorian look without
the Victorian principles, Gothic and Steampunk, Beverley is
fascinated by all kinds of creatures: furry & scaled, feathered and
fanged; and all things magical & mystical, flights of fancy, whimsical
visuals.
One can often find her filtering through forgotten corners in dusty
bins. Salvaging the lost and abandoned, unearthing treasures to be
incorporated into her latest projects. Recycling them in such a way
that brings them new life and purpose.
ARTISTSTATEMENT
Metalwork theme centerfold contest winner:
BEVERLEY CONIGLIO, TIARA, one of a kind.
IN THE CENTERFOLD :
Beverley Coniglio,
of House of Coniglio
TO SEE MORE OF
CONIGLIO’S WORK, VISIT:
HOUSEOFCONIGLIO.COM
NOV/DEC 2015 49

50. NEW BRITAIN MUSEUM
OF AMERICAN ART
56 LEXINGTON STREET,
NEW BRITAIN,
CONNECTICUT
WADSWORTH
ATHENEUM MUSEUM
OF ART
600 MAIN STREET
HARTFORD,
CONNECTICUT
The New Britain Museum of American Art (NBMAA,
1903) and the Wadsworth Atheneum Museum of Art
(1842) recently reopened after major building renova-
tions and expansions, followed by reinstallation of
their collections and exhibitions. Both institutions look
spectacular. In this review I reveal my favorite works of
art at each, a surprise even to myself. So, keep reading.
The Wadsworth is the oldest continually operating
public art museum in the United States, while the NBMAA
is the first museum in the country dedicated to the
development of American art. Coincidental similarities
between the two include large-scale murals by Connect-
icut native Sol LeWitt as prominent decorative features
in the entrance lobby areas: “Whirls and Twirls (2004)” at
the Wadsworth and “Scribbles (2005)” at NBMAA.
Both institutions also feature amusing photorealist
sculptures as part of their permanent contemporary
offerings: Marc Sijan’s “Security Guard (2006),” functions
as the museum’s mascot and welcomes visitors to NBMAA.
At Wadsworth, Duane Hanson’s subversive “Sunbather
(1971),” lounges within the glow of Andy Warhol’s pop art
“Early Colored Jackie (1964)” and against the backdrop of
Robert Rauschenberg’s “Retroactive, I (1964),” a portrait
of President Kennedy.
The NBMAA is recognized as the first museum to collect
Post-Contemporary (PoCo) art, with figurative realist
allegory “The Cycle of Terror and Tragedy: September
11, 2001” by Graydon Parrish as the establishing work
within the movement on permanent display. The focus
on contemporary figurative realism continues with its
“Stone Roberts: Street Scenes, Still Life and Figures”
exhibition, on view until January 17, 2016.
Another significant aspect of the NBMAA is the manner
in which curators have created dialogue between the
contemporary and historic collections. Older paintings
are given a fresh viewpoint, while the contemporary
works are given cultural legitimacy.
Within the “Appropriation & Inspiration” arrangement,
select artworks from the 18th, 19th and 20th centuries are
displayed next to a 21st century contemporary counter-
part. Old and new are juxtaposed to demonstrate how
contemporary artists borrow from antecedent ideas,
NEWLY RENOVATED
MUSEUMS SHINE IN CONNECTICUT
Featured Museums
The author in front of
Thomas Hart Benton’s
(1889–1975) The Arts of Life
in America: Arts of the City,
1932, tempera with oil glaze,
96” x 264”, at the New
Britain Museum of American
Art.
50 NOV/DEC 2015

51. TOP RIGHT: Mark Dion/
Matrix 173: The Wadsworth
Atheneum’s Great Chain
of Being (exhibition detail
2015-2016), 16” x 20”
c-prints (courtesy Mark Dion
and Tanya Bonakdar Gallery,
New York, New York), at
Wadsworth Atheneum.
BOTTOM LEFT: Norbert
Brunner, Suzi, 2010, acrylic
glass, wood, adhesive
foil (front); Nobu Fuku,
Incredulity, 2012, mixed
media on canvas over panel
(left); and Gabi Trinkaus,
LO SE MON, 2014, collage
(printed matter on canvas),
at the New Britain Museum
of American Art.
subject matter, styles and process, while inventing new
ways of communicating and constructing. The dialogue-
duos (sometimes trios) are labeled to assist viewers with
interpretation.
One established example is “West Rock Branches, 2012”
by Valerie Hegarty, a fairly well known contemporary
interpretation of landscape painting and sculpture, using
both two- and three-dimensional process. It was commis-
sioned by the museum as a commentary on Frederic E.
Church’s “West Rock, New Haven,” 1849, and hangs next
to it.
There’s nothing special about Church. The painting is
not extraordinary beyond the regional subject matter, but
the process of alternating between him and Hegarty in
visual discussion and comparison is fun. To fully under-
stand and appreciate the contemporary example, the
viewer is forced to give respect to the painting style of
the older generation.
My favorite within this arrangement is a feminist duo:
Cindy Sherman’s, Untitled, 2000, a photographic self-
portrait portraying a white, American, middle-class
woman paired with the c. 1829-1835 folk-art style oil
portrait of “Abigail Waters Putnam” by Erastus Salisbury
Field, a self-taught male painter. Field was probably not
a feminist nor was Ms. Abigail, but the manner in which
their portrait is displayed with the Sherman is disruptive
and thoughtful. The juxtaposition brings attention to the
reality of false representations of Self as omnipresent, as
stated perfectly on the explanatory label “the formulaic
pose, the fashionable dress … contrived hairdo … suggest
a prepared composition…”
At the Wadsworth, the focused curatorial arrange-
ment centers on “The Matrix” method. “The Matrix” is a
system of art-making by new artists that borrows from
the museum’s permanent collection. Continuing the tradi-
tion is Mark Dion’s “Matrix 173: The Great Chain of Being.”
On view until January 3, 2016, it’s a remarkable and intel-
lectual assemblage of 125 prints exploring the complexi-
ties and interconnectiveness of biological life from the
simplest forms to the most complex. Each individual print,
presented as a small square framed tondo, is a detail
image taken from works of art within the Wadsworth’s
permanent collection. If you know the collection well
enough, you might be able to identify specific details with
Dion’s work.
The highlight of the Wadsworth collection is the
renovated Morgan Great Hall, installed in the traditional
“Salon Style,” featuring 37 paintings from the 14th-19th
centuries. Within this space, the most loved work is
Giovanni Paolo Panini’s “The Picture Gallery of Cardinal
Silvio Valenti Gonzaga,” 1749. My personal favorites are an
interior architectural scene, “The Men’s Bath,” c. 1645 by
the Italian duo Viviano Codazzi and Domenico Gargiulo;
and a beautiful moody winter Flemish landscape, c.
1581-1624, by Carel Liefrinck the Younger.
NOV/DEC 2015 51

52. In the next gallery, connecting the modernist narrative, is an
example of Pollock’s early work, a small landscape in the Benton
style, on display alongside an abstracted, almost cubist Benton
landscape. These two are paired up with a small composition by
another great: Lee Krasner, an abstract expressionist revolutionary
who was Pollock’s muse, nurse and spouse. In this one small section
alone we learn a significant amount about the rise of modernism in
pre- and post-World War II America.
If Benton wasn’t enough — along with a wonderful collection of
American Western Painting and sculpture, which includes two Ralph
Albert Blakelock moonlight landscapes (the only romantic 19th
century landscapes I personally like), and a must-see mesmerizing
portrait by Robert Frederick Blum entitled “The Emigrant Model
(1882)” — there’s the overwhelming ART Today: 2000-Present.
Within this space, here are my Top Three Choices: “He Died for
US?” — Alexis Peskine’s 2007 mixed-media portrait of a black man
hanging by the neck, his head featuring a gold halo and composed
mostly of industrial nails, that addresses race, power and equality
dynamics; “Suzi,” a painted acrylic three-dimensional glass cube
showing the vague portrait of a woman reminiscent of pointillism
by Norbert Brunner; and Katja Loher’s “Portal VI (Ideology/Hope),”
a two-part, self-contained 2014 video-sculpture addressing ecology
and human connection and featuring moving dancers, insects and
music in kaleidoscopic fashion.
Other worthy contemporary works to look for: Andrew Erdos,
“Cheerfully Rooting through Ruby Red Detritus (2013),” a stunning
sculpture of silverized glass, mirrors and crystal, and the two
collage paintings by Radcliffe Bailey examining race, history and
identity politics.
At the Wadsworth, the Modern and Contemporary Collection
includes some of the best-known and most influential artists of the
20th and 21st centuries. After digesting the Picassos and Miros (my
Spanish favorites) on view, my one Top Choice is a surprise: Andy
Warhol.
I generally dislike Warhol, but “Triple Silver Disaster (1963),”
a minimal painterly silver silkscreen and enamel on canvas, is
stunningly beautiful. It’s my selection because, outside of the
obvious gorgeous aesthetics, it addresses a subtle yet powerful
theme: the death penalty. It brings to mind a connection to Truman
Capote’s brilliant 1965 book, “In Cold Blood,” set in the complex
minimalist prairie landscape of Kansas — an environment I under-
stand intimately. I still dislike Warhol, but “Triple Silver Disaster” is
truly sublime.
We shift back to New Britain to examine the great and conten-
tious Regionalist painter Thomas Hart Benton, next up on my list
of favorites. NBMAA famously houses the extraordinary “The Arts
of Life in America” murals from 1932 in a newly built gallery space.
During my visit, longtime docent George Martin explained the
murals’ iconic history, pointing out that a model in Benton’s murals
— a figure playing the harmonica in the “Arts of West” panel — is
purported to be Benton’s young student, (Paul) Jackson Pollock.
IN THIS ONE SMALL SECTION ALONE WE LEARN
A SIGNIFICANT AMOUNT ABOUT THE RISE OF
MODERNISM IN PRE- AND POST-WORLD WAR II
AMERICA.
Featured Museums
Duane Hanson, Sunbather, 1971, polyster and fiberglass polychromed in oil (front);
and Robert Rauschenberg, Retroactive 1, 1964, oil and silkscreen ink on canvas, at the
Wadsworth Atheneum.