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The Cape Cod Times published a review of Breaking the Mold: Inspired by Innovation at the Cape Cod Museum of Art .
Museum's anniversary exhibit opens to non-Cape artists
To start the celebration of its 35th anniversary, the Cape Cod Museum of Art in Dennis has reached out to artists nationally to discover who is working in innovative ways. And the response from beyond our peninsula was huge. The juried exhibition “Breaking the Mold” received 718 submissions by 227 artists from 29 states.
Juror and curator Mim Brooks Fawcett, executive director of the Attleboro Museum, selected 35 pieces of art for a show, which includes pieces that are unorthodox in materials and content, but also some that are – surprisingly – relatively traditional.
In some pieces, the material fools you. Jessica Dupuis’ three-dimensional, abstract “Side Panel A” looks like it is was assembled from slips of paper. But, no, the pieces are cream and green ceramic chips that build in a rolling motion. In “An Awkward Beauty,” Lauren Eve Skelly has created an arrangement of flower-like bows, which look like fabric but are actually porcelain and stoneware. She says the individual sections can be arranged in a variety of ways for
different exhibitions so the piece is eminently versatile.
In “Dirty Thirties,” Abby Schmidt uses different shades of grain (wheat, barley and rice) to make up two mosaic, sepia-colored images, one of a landscape and another of figures. Both present a stark mood.
Carolyn Conrad’s “Maybe Cape Breton” looks like a painting of cottages in a landscape, but actually is a photograph of handmade objects. Kate Sullivan’s watercolor “October 2014” does just the opposite. The image of a shop window, showing reflections of buildings across the street against the motorcycle on display, is so meticulously painted that it looks like a photograph.
More traditional works in “Breaking the Mold” include the expressively painted “Seaman” by Provincetown artist Lawrence Young, as well as Randy Van Duck’s surrealist “Plum Crazy,” of a bird perched on a flying plum.
While installing the art, Fawcett wanted to create associations that would complement one another. Hanging Tanya Fletcher’s “Branch 1” – of an extended arm and a face in profile, glowing with copper leaf – over Jeff Stauder’s “Squirrel” – also with an extended arm, but with a squirrel perched on top and the hand holding an ear of corn – has that kind of effect.
Fawcett chose three pieces as best in show: Robin Cass’ “Ocular Candanthus,” a horn-like shape made with hot-formed glass and silver; Depuis’ “Side Panel A”; and Schmidt’s “Dirty Thirties.”
Art is subjective, though, and my favorites were none of those. Instead, I was impressed and couldn’t stop exploring Stefania Urist’s “Window Dressing,” a three-dimensional, leaded-glass wall piece. It shows a strapless dress with flared skirt, which fans out and throws shadows on the white board on which it is mounted. Peggy Wyman’s “Meditation on Spring,” a sculpture made of fiber (pine needles), which circles and loops in rhythmic dance configurations, represents a moving object despite its stillness. And Diana Maria Rossi’s “City of God: Why Am I Painting the Living Room” is a small glass-mosaic and mixed-media work, which exudes a mysterious quality that is intriguing.
For Cape Cod museum-goers, “Breaking the Mold” is an opportunity to see what artists around the country are creating. Considering the richness of our own art community, it is likely that Cape artists will view the exhibit with interest, appreciating the range, but knowing that the best work here has the same energy and excitement as what they are seeing in the show.
"City of God: Why Am I Painting the Living Room?*" (*song title by Lou and Peter Berryman) was chosen to be part of the exhibit, Breaking the Mold: Inspired by Innovation at the Cape Cod Museum of Art.
Exhibition dates: March 31st - June 12th 2016
The Cape Cod Museum of Art will host its first Open Juried Exhibition, titled, “Breaking the Mold: Inspired by Innovation,” to inaugurate our 35th Anniversary celebrations. Juror Mim Brooks Fawcett, Executive Director of the Attleboro Museum, Attleboro, MA will select up to 40 artworks, and will choose several pieces for awards. The term “breaking the mold” implies both a preservation of authenticity and new beginnings. In celebration of its 35th anniversary, the Cape Cod Museum of Art in Dennis, MA will showcase the innovative and inspired work from a diverse group of artists residing across our nation. Juror: Mim Brooks Fawcett Since July 2006, Mim Brooks Fawcett has been the Executive Director of the Attleboro Arts Museum in Attleboro, MA. where she has focussed her efforts on providing outstanding and diverse exhibitions and art programs. She holds degrees in the visual arts, graphic design and cinema. She has also served as an educator at Northeastern University and Boston University and as a corporate Art Director.
“City of God: ‘Why Am I Painting the Living Room?’” is one of three pieces in my “City of God” series where I have made a small, intimate space — an interior. “Why Am I Painting the Living Room?” is the title of a song by Lou and Peter Berryman. In this song, the musicians give voice to the age-old quandary that many artists work through —- why make things amidst chaos? What is enjoyable about the song, though, is that the musicians use a more prosaic image, painting one’s living room as a standing in for the artist’s dilemma. By making my own kind of weird living room I was trying to express my own existential unease. If you look closely at the picture hanging over the couch. I placed a miniature lithograph of a nuclear power plant with “nucleare, no grazie” inscribed beneath it. Also, embedded on the seat of the coach, is the abbreviation of the epitaph “Rest in Peace” (RIP). I used a broken ruler to add to the ominous feeling of that interior —— the ticking, the measuring, the finiteness….. Each of the pieces in my “City of God” series plays with using either drawing or recycled prints under transparent glass to create the background of the piece. In “City of God: ‘Why Am I Painting the Living Room?’ ”, I used colored pencil drawings, making a pattern that could be seen as a kind of wall paper. I love pattern and this pattern was my feeble attempt at paying my respects to William Morris, the artist, wallpaper designer, and socialist.
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Two of my sculptures were accepted into the show, Big Ideas in Small Packages at Blue Door Gallery in Yonkers, New York.
Exhibition dates: March 11th 2016 - April 23rd, 2016
Opening Reception: Friday, March 11th, 2016 from 6-8:00
13 Riverdale Avenue, Yonkers, New York, 10701
for more information on this show and opening please go to: http://bluedoorartcenter.org/gallery/big-ideas-small-packages-opening-reception
Here is the first one, "Devil Time" which I made in 2009.
The title for “Devil Time” is taken from the lovely song by Claudia Schmidt, called “Old Devil Time”. I combined my discarded Timex watch, a broken ruler, smalti, glass, and text (all on wood ), to try to express my ever more distasteful relationship with measured time.
And here is the second piece, "The Birthday Playlist: #1 'Obatala' " which I made in 2015
Hearing "Obatala" I often conjure up a big "O" of wonderment.
I hear JOY!
That is why "AYO" is written beneath the heart --- it means joy in Yoruba and Obatala is the name of a Yoruba deity who is also embraced as a god in the Santeria religion. He is an old god who made earth and humans and is associated with creativity and also the color white.
The song "Obatala" is a Latin jazz tune (in the mambo style, I think), written by Hideaki Nakaji. This version of the song is played by the 2014/2015 BerkeleyHigh Jazz Band and it became their signature song for the year. This cut is from the band's performance at the 2015 Reno Jazz Festival where Berkeley High placed First in their division. The Band also played an exuberant rendition of "Obatala" at their final concert, from where I treasure a lasting image of one particular baritone sax player decked out in a rich green robe, crowned by a Russian-style tiara headdress.
I hear Joy!
To hear the tune in question go here :🎹
I am pleased to announce that one of my sculptures was accepted into the By Hand exhibit at
Exhibition dates: January 15th, 2016 - February 27th, 2016.
Saturday, January 16th, 6-9pm: 3rd Saturday Art Walk and Reception
405 Vernon St, Ste. 100, Roseville, CA 95678
The Creative Arts League of Sacramento, California is excited to present By Hand; a National Biennial Fine Craft Competition and Exhibition exhibited in the Coker Gallery at Blue Line Arts of Roseville, California.
The exhibit will feature contemporary, craft work that is cutting-edge with the highest level of workmanship. Innovative uses of wood, glass, clay, jewelry, metal, fiber, mixed media and more will make up this phenomenal exhibit.
Our juror for By Hand 2016 is renowned curator, Elisabeth R. Agro, the Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts at the Philadelphia Museum of Art and Co-Founder and Adviser of Critical Craft Forum.
"Vulcan: A Love Poem - Winter"
please click on the individual photo for a larger image