March exhibits open at Silvermine this Sunday

Silvermine Guild Art Center
1037 Silvermine Rd., New Canaan, (203) 966-9700
Jocelyn Braxton Armstrong: I Am She
Stephanie Joyce: Unfolding
Ann Chernow: Annie's Soda Fountain
Marilyn Richeda: Whispered Warnings
Constance Kiermaier: Obsolete Elegance—A Tribute to JWK
Mar. 11—Apr. 22, 2012.
Opening Reception: Sun., Mar. 11, 2—4 p.m.

Press release

The new exhibits opening in March at the Silvermine Arts Center, located in New Canaan, CT bring together a diverse selection of Guild sculptors and printmakers. Topics will range from the feminist sculptures of Jocelyn Braxton Armstrong to the fantastical figures of Marilyn Richeda and the meditative prints of Ann Chernow, Stephanie Joyce and Constance Kiermaier. March is Women’s History Month and, in honor of this event celebration of the achievements of women past, present and future, we are excited to feature these very talented women artists of Silvermine Arts Center. The exhibit opens Mar. 11 and runs through Apr. 22. All are invited to the opening reception on Sun., Mar. 11, 2—4 p.m.

Modernist ceramic sculptor, Jocelyn Braxton Armstrong’s exhibition I AM SHE, features recent figurative sculpture and installations. In this exhibition she examines issues relating to feminism, exploring the causes of gender-based violence and inequality, from both a domestic and global perspective. Throughout the exhibition, she aims to inspire curiosity, thought and dialogue, to raise awareness and incite positive action that promotes feminism worldwide. Armstrong’s work is, for the most part, unglazed white porcelain. Her elegant figurative sculptures appear to be covered with delicate line drawings. These lines are used in an illustrative effect and sometimes the lines can express meaning. Her sculptures have a fresh sophistication and modern aesthetic that link fine art with craft. Of her work, Ms. Armstrong states, “Gesture is what interests me. Body language is beguiling. Gesture naturally conveys movement but can also be passive or submissive, playful or seductive, regal and proud. Gesture can tell a story. Some sculptures are motivated and methodically planned, while others are spontaneous and come from within. My most recent sculptures are more conceptual in nature, influenced by my life experiences now. I am exploring the emotions of relationships, conflict, love, and family, particularly how these emotions relate to women.”

Painter and printmaker Stephanie Joyce’s new exhibit Unfolding, is about sacred symbols of ancient tradition that takes the viewer to the very heart of what it is to be human. Even in today’s western culture, seemingly dominated by rationalism, consumerism, and constant visual innovation, shared symbols continue to shape our mental and emotional landscapes. The urge to articulate the connections of the universe, and our place within it, is an intrinsic human need that we share with our earliest ancestors. The body of work in this exhibit incorporates signs and symbols through painting, sculpture and printmaking. Joyce’s inspiration for her images were drawn from such sources as Carl Jung’s Man and his Symbols and poetry from Rumi to Mary Oliver, in particular, The Layers by Stanley Kunitz, which was instrumental in the ‘unfolding’ of this body of work; as well as the unconscious as explored through dream journaling, and materials found in the natural world. Of her work, Joyce comments, “Nature has been manipulated through a range of materials, all of which have been transformed and repurposed so that they transcend definitions and traditions. The outcome is an art experience which enters a mystical realm where ritual, genealogy and anthropological roots are explored.”

The exhibit of works by Ann Chernow Annie’s Soda Fountain, is based on impressions related to movies from the 1930’s and 1940’s, and the iconic drugstore soda fountain. Inspired by film publicity about stars being ‘discovered’ by a Hollywood scout and the image of a soda fountain that occurred in many movies of that genre, Chernow uses film characters and period settings as points of departure and then freely interprets. Who could forget the image of Lana Turner sipping an ice cream soda through a straw, having been discovered at Schwab's Drugstore, as legend would have it. The prints and drawings in this exhibit refer to actual films, studio publicity, fan magazines and other memorabilia of the golden era of Hollywood. Contemporary faces are added, but without altering the spirit of the chosen cinematic theme. “In blending past and present images, I try to create a sense of déjà vu, or nostalgia, without the sentimentality often associated with specific film references. Depicting a universal gesture and establishing dramatic moments are primary.” Chernow also states, “Once experienced, a movie is never totally forgotten. Memories from films can be channels, metaphor and private reverie through which an artist can address the human condition.”

Whispered Warnings is an exhibit of sculptural works by Marilyn Richeda of other worldly figures, creatures not found in forests, on the street or in encyclopedias. Some figures are robot-like, non-speaking, noiseless and still. Others stand confident, perhaps hiding something. Birds are portrayed as enchanting, but often showing a darker side such as feelings of loss, helplessness and being marooned. The combination of strangeness and familiarity reveal human concerns and behaviors as portrayed by the birds. “I rarely start to work with a clear visual image of what I will create. I do, however, have an idea of what I want to explore or a feeling I want to express and keep on working until I feel it’s right,” says Richeda of her work. “Like all my work, they explore pattern and color. In many ways, color is the most important part of every piece I make. Color is what seduces me. Even the names of the glazes affect which ones I select.” Richeda gets her inspiration for her colors from looking at painted cars and trucks on the road or from painters such as George Basselitz, Grau-Garriga and from folk art. What excites her most is the casualness and color which comes from the art of children. Her internal drive comes from the continuous process of discovery, drawing from her overall life experiences. “I see each piece as a fragment of what will eventually become a lifetime statement.”

Constance Kiermaier’s exhibit, Obsolete Elegance - a Tribute to JWK defines the life and times of her late husband, JWK, as he lived them. An exhibition of mixed media, Kiermaier uses a tie as the source material. The tie, which can be found in each of her works, serves as a metaphor for the man and his time. Quotes from JWK evoke his personality and response to a life lived with civility, honesty and promise that defined a different time. “Now that I am in the middle of my eighth decade, I still continue to think of art as magic, and myself as a kind of magician who through complex trickery can manipulate visual perceptions and create a dichotomy of the real and the unreal. In my lifelong exploration of this magic, as a painter and maker of boxes, collages and constructions, I find that I delight and surprise myself in the process of seeking to delight and surprise. This discovery is the ultimate enchantment.”

Thursday evening reception for "Bridgeport Prints"

The BACC Gallery in the Historic Arcade Mall
1001-12 Main St., Bridgeport, (203) 552-4154
Bridgeport Prints
May 12—June 23, 2011.
Opening reception, Thurs. May 12, 5—7 p.m.

Press release

The Bridgeport Arts and Cultural Council (BACC) is pleased to present Bridgeport Prints: An Exhibition of Original Prints from May 12-June 23, 2011. The works in the exhibition were selected by Master Printer, Artist and Collector, James Reed.

The public is invited to meet Mr. Reed and the artists at the opening reception on Thurs., May 12th from 5—7 p.m. At 6 p.m., Mr. Reed will give a talk about printmaking and the selected works. The BACC is located inside the historic Arcade Mall at 1001 Main Street in Bridgeport.

Featuring 24 artists, Bridgeport Prints gives the public a snapshot of the variety of fine art printing techniques and styles used by artists. Historically, "printmaking" refers to the process of using a matrix, or a single original surface, which is used to apply a medium, such as ink, to its surface; the medium is then transferred, or pressed, onto another surface creating an impression of the original on the final surface. Although an artist can make more than one impression or print, each print is considered original due to the nuances of the printing process that creates "multiple originals."

When selecting the pieces for the exhibition, Mr. Reed wanted to show a range of talent from young emerging artists, such as Perry Obee and Andrew Murdoch, to more established artists, such as Ann Chernow, Michael Torlen and Alberta Cifolleli. The thread that ties all of these works together is that all of the artists work, live, or print their artworks in Bridgeport. Other artists included in the exhibition are Roland Becerra, Kelly Bigelow Becerra, Thurston Belmer, Janine Brown, Richard Byrnes, Helen Cantrell, Xenia Fedorchenko, Andre Junget, Kate Larocca, James Meyer, Gus Moran, Brechin Morgan, Misty Morrison, Yolanda Petrocelli, Ronnie Rysz, Nomi Silverman, Tyson Skross and Liz Squillace.

Mr. Reed, who holds a Bachelor of Arts from University of Missouri and a Master of Arts from San Francisco State University and Tamarind Institute, is the owner and Master Printer at Milestone Graphics in Bridgeport, CT. As a master printer, he has worked at print shops throughout the United States, Mexico and France and has collaborated with over two hundred artists during a career that spans over forty years. Also an accomplished artist, Mr. Reed's personal work is included in the collections of IBM, General Electric, Tamarind Institute, Achenbach Print Foundation, New York Public Library, and the Metropolitan Museum of Art, among others. He has received a Ford Foundation Fellowship and a Rockefeller Research Grant.

The Bridgeport Arts and Cultural Council, a non-profit organization, was founded to advocate for cultural and arts organizations by promoting participation of the community in arts and cultural activities in Bridgeport. In addition, the BACC provides exhibition opportunities and promotion for area artists and artisans. Exhibitions and events at the BACC are sponsored by private and public funding partners.

Series of prints on Matthew Shepard murder at Housatonic Community College

Housatonic Museum of Art
900 Lafayette Blvd., Bridgeport, (203) 332-5052
Nomi Silverman: The Shepard Cycle
(On view on the 3rd floor of Beacon Hall at Housatonic Community College)
Through Jan. 8, 2011

Press release

In 1998, Matthew Shepard (Wikipedia article), a young gay man, was murdered by peers. In court the defense claimed the crime was a gay bashing. Titled The Shepard Cycle, Nomi Silverman of Glenville, Connecticut, created a suite of prints in 2008 that detail this narrative. Silverman’s prints are on view on the third floor of Beacon Hall at Housatonic Community College (HCC). The installation is sponsored by the Housatonic Museum of Art and is on view through January 8, 2011.

Silverman structured the persecution and suffering of Shepard much like the Passion of the Christ, also known as the Stations of the Cross. Silverman explains, “I used the Passion of the Christ/Stations of the Cross in this manner – describing his last night (and a few days after) loosely in those terms. I took liberties with the images, and moved and even eliminated one, but they are essentially there.”

The works on paper are created using two printing processes, lithography and etching. Silverman says, “The idea is that each medium is slightly different – allowing for a push and pull of emotions. Etching is a very violent medium, using acid on a plate to eat away at the metal. Lithography, the ‘gentler’ medium, allows for more nuances and a beautiful drawing-like quality which is perfect for the more subtle scenes.”

In her introduction to Silverman’s portfolio, printmaker and painter Ann Chernow describes Silverman’s approach as approximating the social critique and sure-handedness of artists such as Spanish court painter Francisco Goya. Regarding the Stations of the Cross, Chernow adds, “Of particular significance is her liberal use of the Stations of the Cross as the allegorical vehicle to depict her intensity of feeling. The entire suite is a condemnation of political and religious hypocrisy that emerged in response to the Shepard case, …”

Silverman sees the series as a continuation of her impulse to address social and political issues, “Over the years, [my art] has dealt with the origins of hate and how it spirals through the generations into violence, so often against those perceived as outsiders.” Through printmaking, the artist harnesses the storytelling capabilities of rendered images and expresses her emotional response to a senseless act with confidently etched lines and visceral applications of ink. Silverman hopes viewers will react to the feeling of each type of print as they follow Shepard’s story.

The exhibition is open to the public at no charge. Hours are: Monday through Thursday, 8:00 a.m. – 10 p.m., Friday 8:00 a.m. – 6:00 p.m., Saturday 8:30 a.m. – 4:30 p.m., Sunday 11:30 a.m. – 5p.m.