Dedicated to covering the visual arts community in Connecticut.

Thursday, October 27, 2011

City-Wide Open Studios, weekend two

City-Wide Open Studios
50 Orange St, New Haven, (203) 772-2709
City-Wide Open Studios
Through Oct. 30, 2011.

I couldn't get to Erector Square the first weekend because I was out of town at a family wedding. This Saturday and Sunday are the final weekend with various artists showing in the Alternative Space at the Coop Center for Creativity, 196—212 College Street in New Haven.

(Note: As of Thursday night when I am trying to post this, Blogger is giving me trouble with including images. So I'm posting it now without images and hope to add them soon.)

(UPDATE 11/2/11: Added images.)

I started off the second weekend by dropping by the studio of photographer Linda Lindroth. Lindroth had a wide array of her work spanning decades available to be viewed. But we spent our time discussing new work—large color digital images of objects like worn antique boxes, bunched-up vinyl shorts and fluorescent temporary yellow road stripes.

Lindroth shot the objects at extremely high resolution and then silhouetted them in Photoshop and blew them up to very large size. Many of the images have art historical references—Mark Rothko, Howard Hodgkins, Richard Serra.

A conical bowl made out of spun aluminum with a crackle texture surface reminded Lindroth of Richard Serra drawings at the Metropolitan Museum of Art. Serra used an oil stick, Lindroth tells me, so the surface of his drawings feature prominently.

On the facing wall, Lindroth displayed two images, one from the inside and one from the outside of an old gift box for a strand of pearls. The outside is aquamarine-colored with worn edges. The inside is the real treasure. The aquamarine coating of the splayed edges of the box is peeling off like old paint on a house, curling and flaking. The inner square is yellowed cream framed by a thick swirl of aged, dried mucilage glue—swirled and congealed, the color ranging from mustard to amber to deep caramel. Although they are flat images, they are richly tactile.

The ostensible subject of another image was the cover of a 19th-century photo album that used to hold the postcard-sized portraits one would get at a studio. The cover had been covered with red velvet and stuffed with cotton batting. But it had fell apart after 100 years. The velvet was degraded to the extent that there was only a smattering of tufts around the middle. Stray fibers were spun out from the frayed edges along with protruding cotton batting turned orange with age. With its subtle, shifting shades of red, the image suggested a painting by Rothko.

"I'm really excited about this," Lindroth told me. "When you're working on a series and it keeps reinforcing you and making you happy, you forget about all the difficulties and go with the flow."


Constance LaPalombara was showing cityscapes, still lifes and evocative landscapes. She has an upcoming show so most of her newest works were not on display, being held in reserve for that exhibition.

One of the most recent works that she did have on display—"Evening at the Pool"—was one of the results of a resident fellowship last fall at the Heliker-Lahotan Foundation on Great Cranberry Island in Maine. LaPalombara did studies in Maine and finished the large, square painting in her New Haven studio.

She told me, "It felt good to paint something big again. I hadn't done that for a while." LaPalombara said she had been "creeping up on it" and pointed to a medium-sized painting of a cityscape on a parallel wall.

"Evening at the Pool" is a serenely meditative work, low contrast and suffused with soft, pink light. The lagoon in the foreground is studded with jetties of squat rocks. A couple of small cottages nestle amid the forested horizon line. The sky is filled with the kind of light that promises night is just around the corner. The painting is deceptive. It looks simple but is rich in painterly detail: moss on the rocks, multi-color light reflections on the water's surface.


In his 39 Church Street studio, Gerald Saladyga was showing a range of work from minimalist geometric paintings made in the 1990's to current works in progress. Among the newest works was a suite of drawings on brown wrapping paper that Saladyga jokingly referred to as the "Wheelchair Series." Working with India ink markers, Saladyga made the drawings when he was incapacitated by injuries to his right leg and foot, now thankfully on the mend.

"I was like a kid with a crayon box—nothing more, nothing less—and your imagination kind of runs with it," Saladyga told me.

Increasingly, figurative elements have been returning to his work. His primitivist figures feature prominently both in the "Wheelchair Series" and in his new "100 Days in Eden," a series about the 1994 Rwandan genocide. Saladyga is an artist in constant, restless creative motion. His work is always evolving, going through permutations.


I dropped by Silas Finch's studio. Finch is constantly acquiring objects that resonate with a sense of the past and offer him a platform to let his wild imagination take flight. His representative work in the main exhibition at Artspace incorporated horseshoe crab shells and, sure enough, he had more crab pieces in his studio.

His experimentation with using horseshoe crab pieces is an extension of his fascination with antiques and the past into organic parts derived from one of the oldest still existing species on the planet.

It's a challenge for Finch because the claws and molted shells are quite fragile. One idea he has is to layer the helmet-like shells, which appear either metallic or ceramic, so they look like Japanese shoulder armor.

On the same table where Finch has stacked piles of horseshoe crab shells, he has a half-dozen or so yellowed "Wanted by the FBI" flyers he picked up at a large flea market in Stratford. All the "wanted" flyers are for fugitives sought for "interstate flight"—among other crimes—and Finch envisions a work or series with that title.


Other work I enjoyed at 39 Church; Ken Lovell's digital paintings and prints, Jo Kremer's paintings and the paintings and drawings of James Jasiorkowski.


On Sunday I stopped by John Keefer's apartment/studio in Westville. It was a beautiful day and Keefer had paintings outside on the porch as well as lining his walls and propped against the wall on the floor. There were quite a few paintings from a new series Keefer has been working on that he termed, with a bit of a mischievous grin, his "ten-prong cock attack" paintings. Each painting was defined by the use of two colors and the design—a double set of interpenetrating fingers or, um, cocks.

Keefer told me he "wanted to make paintings really fast. I wanted them to be really simple." They are finger paintings—one color for each hand.

"Both sides are painted at the same time. I put stretches of color on each side and work towards the edges," Keefer said. He said they are "very satisfying objects to make." He doesn't have to think about the composition—he can just be in tune with the energy of it. One of the series was mounted on the wall near the entrance. Painted in opposing and complementary red and black, it had a vibrant energy with swirling trails of color.

Keefer continues to work on large paintings based on photographs and laid out on the basis of the classic grid system and has also been doing a lot of drawings. One complete work—or almost complete, Keefer isn't sure—depicts his late German Shepherd Casey standing in shallow water. Like most of Keefer's paintings, the application of paint is raw, unfussy. He uses brushes, yes, but also his fingers, the former business end of a spatula and his forehead. (He acknowledged that the latter painting instrument wasn't particularly effective.)

"It's best for me to do a couple of different things in close temporal proximity to each other," Keefer said.


Over at West Cove Gallery, I spoke with sculptor Jonathan Waters. We talked about one of his sculptures, a large, free-standing work in the middle of his big studio gallery that is part of his "Portal" series. As waters originally built it, wide boards painted black framed a large, open space. The addition of two thin verticals added a powerful dynamic. There was now a visual flow occurring within the frame and the open (positive) space became a type of S-shape.

"What happens is that you get pieces that are generative for a lot of other work," Waters said. "You open up and go, 'Oh, here we go again,' and this one is in that category."

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Wednesday, October 19, 2011

Artists' reception Saturday at UConn Stamford for two-person show

The UConn Stamford Art Gallery
One University Pl., Stamford, (203) 251-8400
Color and Line: On and Off the Wall: Sam Wiener and Lori Glavin
Oct. 21—Nov. 23, 2011.
Artists' reception: Sat., Oct. 22, 2—4:30 p.m.

Press release

Color and Line: On and Off the Wall includes recent works by sculptor Sam Wiener and multimedia artist Lori Glavin. Wiener exhibits sculptures and collages united by vibrant color and a feeling of whimsy. Glavin's works include new polystyrene constructions and related color studies in oil. Bright color, strong line, and energetic patterns complement Wiener's sculptural works; the result is a complex interplay of color and line.

There will be an artists' reception for this show this Sat., Oct. 22, from 2—4:30 p.m.

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Reception for show of Puerto Rican artisan masks this Saturday

CaRo Art Studio and Gallery
290 Pratt St., #48, Meriden, (203) 886-6809
Los Vegitantes: Cultural Artisan Masks by Angel Sanchez Ortiz
Oct. 15—Nov. 5, 2011.
Opening Reception: Sat., Oct. 22, 4—8 p.m.

Press release

Angel Sánchez Ortiz is a master artist in the Puerto Rican tradition of vejigante mask-making—the colorful spiky paper mâché "mascara" worn during carnival. His striking, fantastical masks of boldly painted paper mâché depict animals, legendary people, and sometimes spirits and monsters that are imbued with cultural meaning. He builds the body of the mask on a form, often a balloon, a basketball, or a plaster form he shapes for this purpose. Decorative elements such as horns, protruding eyes, and articulated jaws, also made from paper, are added to the base form to create the mask's character.

Meet the artist this Saturday at the opening reception, from 4—8 p.m. There will be a mask-making workshop with the artist on Sun., Nov. 6. Call the gallery for information on time and tuition cost.

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Poster Boy show, censored by Trinity College, opens tomorrow at Real Art Ways

Real Art Ways
56 Arbor St., Hartford, (860) 232-1006
Poster Boy: Street Alchemy 2.0
Oct. 20—Jan. 20, 2011.
Opening reception during Creative Cocktail Hour: Thurs., Oct. 20, 6—8 p.m. Admission is $10/$5 Real Art Ways members.

Press release

Real Art Ways presents an exhibition by Poster Boy who comments upon the wide array of political issues. Armed with a razor blade, Poster Boy manipulates vinyl advertisements to create startling, harsh or even humorous mash-ups.

An opening reception on Thurs., Oct. 20 from 6—8 p.m. will be held as part of Creative Cocktail Hour, Real Art Ways' monthly third Thursday gathering. Creative Cocktail Hour is from 6-10 p.m.; admission is $10/$5 Real Art Ways members.

The installation Street Alchemy 2.0 is an immersive spatial experience created with altered billboards. The typical relationship between individual and billboard is a curious one. Billboards traditionally loom over individuals seducing them through promises of success, security and savings. Poster Boy subverts this relationship, neuters these imposing images by bringing them down to eye level within a gallery space. The billboards in Street Alchemy 2.0 no long hold any power over consumers. We can laugh at their attempts to dupe us while relishing the clever and snide reconfigurations of Poster Boy's handiwork.

The works for Street Alchemy were originally designed for an exhibition at Trinity College. But school administrators canceled the show in mid-September. Real Art Ways has a history of championing artists and artistic expression and promoting dialogue about censored works.

Poster Boy describes itself as an artist collective based in Brooklyn, New York. Poster Boy is known for manipulating and repurposing self-adhesive advertisements in the platforms of New York City subway stations to create satiric, collage-like street art. Combining disparate elements of multiple advertisements into one composition the work calls attention to the oversaturation of commercially driven media that individuals are exposed to on a daily basis. There is always an element of humor in Poster Boy's work, and it is usually sardonic and politically driven. Critical of corporate and celebrity culture the work is a raw and spontaneous form of culture jamming inspired by "mash-ups" and the impromptu nature of hip hop "freestyling."

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Wednesday, October 12, 2011

City-Wide Open Studios, sponsored by Artspace, begins this weekend

City-Wide Open Studios
50 Orange St, New Haven, (203) 772-2709
City-Wide Open Studios
Oct. 12—30, 2011.
CWOS Festival Exhibition
Through Oct. 23, 2011.
Opening Reception and CWOS Festival Kickoff Party: Fri., Oct. 14, 5—8 p.m.

Press release

Artspace is pleased to announce that the CWOS festival, now in its 14th year, will run October 12—30, with three consecutive weekends of studios open to the public. CWOS unites artists from all over Connecticut to celebrate their practice, share their creative process, and showcase the vitality and diversity of New Haven as creative hub.

Friday, Oct. 14, 5—8 p.m. • The Grand Opening Reception kicks off three weekends of studio visits this Friday night at Artspace. From 5—8 p.m., take the opportunity to meet the artists, tour the CWOS Festival Exhibition and also visit other local galleries that will be staying open late including Ninth Square's Project Storefronts.

Artspace is located at 50 Orange Street at the corner of Crown Street in Downtown New Haven and serves as the CWOS festival hub. Volunteers will be on hand all weekend to assist you with your studio visit planning and mapping.

Saturday and Sunday, Oct. 15—16, 12—5 p.m. • The first weekend is devoted to showcasing the artists in Erector Square in New Haven's Fair Haven neighborhood. Some 100 artists will be displaying and discussing their work in studios and gallery spaces in the old factory complex where Erector Sets were once built. There will also be artists demonstrations throughout the complex.

Saturday and Sunday, Oct. 22—23, 12—5 p.m. • This is the "Passport Weekend." Get your documents in order to travel throughout New Haven and the suburbs—West Haven, North Haven, Hamden—meeting artists in their private and group studios that are normally closed to the public. Studio demos, talks and performances. Artist-designed passport stamps for adventurous explorers, prizes for frequent fliers. Guided bike tours will be led by the Devil's Gear, leaving at 12:30 pm from their location at 151 Orange Street in the rear of the 360 State Street building.

Saturday and Sunday, Oct. 29—30, 12—5 p.m. • Experience what the world could be like if art intersected with the environs of everyday life. The final CWOS weekend is devoted to the Alternative Space, an empty building repurposed for immersive, site-specific installations. This year's Alternative Space is at the Coop Center for Creativity, located at 196—212 College Street in the heart of downtown New Haven.

Over the past fourteen years, City-Wide Open Studios (CWOS) has drawn thousands of visitors to explore New Haven's neighborhoods while discovering artists, galleries, and the treasures of our city. City-Wide Open Studios celebrates contemporary art in all its myriad forms, and is undoubtedly Connecticut's leading visual arts event. Art dealers and curators from the region and beyond have used CWOS as a resource to discover new artists, plan upcoming shows, and buy art. As one of the largest Open Studios programs in the country, CWOS connects hundreds of local artists with the greater New Haven community—and beyond.

City-Wide Open Studios is a program of Artspace, a Connecticut non-profit organization presenting local and national visual art, providing access, excellence, and education for the benefit of the public and the arts community.

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Sunday reception for photography show at Kehler Liddell

Kehler Liddell Gallery
873 Whalley Ave., New Haven, (203) 389-9555
Seven: An Exhibition by Seven Photographers
Oct. 13—Nov. 13, 2011.
Opening Reception: Sun., Oct. 16, 3—6 p.m.

Press release

Kehler Liddell Gallery is pleased to present Seven, a group show by seven photographic artists. Featuring the work of Rod Cook, Matthew Garrett, Andrew Hogan, Keith Johnson, Hank Paper, Alan Shulik, and Marjorie Wolfe, this unique exhibition is a testament to the diversity of styles and esthetics within the photographic medium. The diverse methods used by the seven artists include Platinum palladium process, multiple image printing and photojournalism.

Rod Cookʼs photographs offer rare moments of surreal beauty. Each image is a glimpse into an intimate gesture—sometimes haunting, other times reminiscent of a comforting memory. Using the Platinum/Palladium process—a technical process in which a light sensitive emulsion is coated directly on the surface of a sheet of paper—Cookʼs photographs exhibit a stunning, soft luminosity that evoke a deep emotional response within the viewer.

Matthew Garrett is a photographer who extracts uncanny and strange images from urban and suburban environments. His photographs isolate murmurs from the rhythms of our daily surroundings. Garrett transforms familiar spaces into mysterious, meditative spaces. His compositions play with light intensity and utilize spatial juxtapositions to create signature, dramatic visual effects.

Andrew Hogan's photographs capture fleeting moments of emotion that are indefinable by words alone: Mere glimpses or gestures that can suggest an entire life story. His photographs reveal fleeting moments of personal history and their underlying emotions that are undiminished by time. Hogan captures these powerful emotional stories in their beauty and mystery. His images uncover what is hidden in our everyday lives, and show how time and distance affect our personal realities and perceptions.

Keith Johnson makes photographs that are an investigation of extended imagery. By printing multiple images on a single piece of paper, Johnson is able to push the photograph beyond the single print, into a grid work that creates new frames and connections between images. The juxtaposition of multiple pictures steers the viewerʼs focus to the idea of the image—toward the imageʼs string of potential suggested by layers of graphic detail.

Hank Paperʼs photographs are from a series entitled “Island Life.” Paper shoots in an intuitive, photojournalistic style that allows the true nature of his subjects to be seen, often in juxtaposition with their absurd nature. Paperʼs photographs can be viewed as testimonies of people in their everyday life. However, his often humorous images do more than just expose the ordinary. They puncture the viewerʼs preconceived notions of his fellow man by revealing his subjects in unexpected roles and contexts that both surprise and sometimes astonish.

Alan Shulik (see image) paints with the lens of the camera in such a way as to produce abstract-surrealist images that conjure up ethereal, dream-like experiences. The images he will exhibit in this show are landscape photographs depicting the coastlines of Maine and Connecticut. Possessing a quiet, ethereal quality, these images are at once fleeting glances and moments of stillness.

Marjorie Wolfeʼs approach to photography, though simple and direct, reveals a hidden world. Wolfeʼs photographs were all taken at the same pond in Marthaʼs Vineyard, a place that the artist visits often. However, despite familiarity with the location, through Wolfeʼs sensitive visual esthetic, she is able to use the camera to expose the subtle contrasts around her—near and far, old and young, clamor and peace.

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Printmaking exhibition at new venue Institute Library; artists' greeting Friday of next week

The Institute Library
847 Chapel St., New Haven, (203) 562-5045
Identifying Marks
Oct. 15—Nov. 5, 2011.
Greeting of the Artists: Fri., Oct. 21, 6—8 p.m.

Press release

The work of six local print makers—Oi Fortin (Web), Aniko Horvath (Web), Fethi Meghelli (Web), Roxanne Faber Savage (Web, see image below), Thomas Stavovy (Web), Jonathan Waters (Web)—introduces a new gallery space in downtown New Haven. Curated by Stephen Vincent Kobasa, this exhibition is an example of the library's commitment to offering a venue for small scale works by artists in the greater New Haven community.

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Monday, October 10, 2011

Two shows open Saturday at Hygienic in New London

Hygienic Art
83 Bank St., P.O. Box 417, New London, (860) 443-8001
Hang In There Poster Show
Hygienic Art Show Archives
Oct. 15—Nov. 12, 2011
Opening reception: Sat., Oct. 15, 7—10 p.m.

Press release

Hang In There Poster Show has been organized by Hygienic Artist in residence, Patti Murphy. Murphy has brought together some of the top graphic designers and illustrators in the region through her connections with AIGA and her passion for art + design. Hang In There is a poster show, showcasing typographic and illustrative designs around the theme of positivity + encouragement. Each designer is individually designing posters around this theme. Prepare to be uplifted + inspired by each designer’s style and interpretation.

Hygienic Art Show Archives: Digging through the Archives spanning over thirty years, Hygienic Art President A. Vincent Scarano and Rich Martin, Hygienic Art Show organizer and manager, have culled through 33 years of poster art. Their selections will be featured in the Underground Gallery at Hygienic Art.

Hang In There Poster Show Artists:

Julia Balfour
Mark Bevington
David Cushman
Vaughn Fender
Peter Good
Amy Graver
Nick Healy
Karli Hendrikson
Susan Hickman
Rich Hollant
Matt Hunsberger
Tomasz Kazmierczak
Noemi Kearns
Katie Kerrigan
John Lepak
Magdalena Lutoborska
Patti Murphy
Kat Murphy
Troy Monroe
Eric Panke
Chris Piascik
Tracie Valentinormes

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Barnes & Waters shows open Thursday at Giampietro Gallery

Fred Giampietro Folk Art, Antiques and Contemporary Art
315 Peck St., New Haven, (203) 777-7760
Mary Barnes: Recent Work
Jonathan Waters: Selected Work 2008—2011
Oct. 14—Nov. 10, 2011.
Opening Reception: Thurs., Oct. 13, 5—8 p.m.

Press release

The Giampietro Gallery is pleased to announce an exhibition from October 14 to November 10 of contemporary artworks by Mary Barnes and Jonathan Waters.

Mary Barnes' pieces make vivid use of wet and dry media, including pencil, inks, pastels, oils, pen, and matt mylar, to revisit her experiences in nature. Among her influences, she counts Kandinsky, Twombly, Scully, Rothenberg and Dine.

Jonathan Waters' collages and sculptures challenge viewers' inborn senses of perspective. His collages are flat, however they appear to float in space; and his sculptures can be interpreted as three-dimensional expressions of his collages, with edges appearing as linear elements that shift according to one's position.

There will be an opening reception on Thurs., Oct. 13, from 5—8 p.m. Normal gallery hours are Tuesday to Friday, 10 a.m.—4 p.m, and Saturday 11 a.m.—4 p.m.

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Reception for Michael Morand photo show tomorrow evening

New Haven Free Public Library Art Gallery
133 Elm St., New Haven
Michael Morand: @MimoCT :: btc
Through Oct. 14, 2011.
Artist's reception: Tues., Oct. 11, 5:30—7:30 p.m.

Press release

Michael Morand has been in New Haven since about 10,214 days ago. He gets around and has been on stage, in front of the cameras or at the microphone more than a few times in a variety of roles—as an alderman, activist, chamber of commerce chair, library board member, and university representative.

Once in a while, though, he’s behind the camera. This show at the New Haven Free Public Library offers a selection of some of the shots he’s taken in recent years as part of his ongoing, deeply rooted affection for the Elm City. @MimoCT :: btc expresses Michael’s fundamental belief that there is no better place to be, to live, to learn and to grow than our beloved community of New Haven.

One savvy photographer and cultural critic, Christopher Brownfield, has said previously of Michael’s photography: "His work possesses a consistent use of creative focusing and indifference to compositional convention that evoke a sense of surrealism and spontaneity." Maybe. It certainly has a consistent commitment to celebrating the many facets of the marvelous mosaic that is our hometown.

In the words of Harry Caudill, emblazoned at the entrance of the public library Whitesburg, Kentucky, one of Michael’s favorite places beyond our own borders, “Come look for yourself.”

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Thursday, October 06, 2011

The icing on the cake: Clint Jukkala's paintings at Giampietro Gallery

Fred Giampietro Folk Art, Antiques and Contemporary Art
315 Peck St., New Haven, (203) 777-7760
Clint Jukkala: Even If and Especially When
Through Oct. 7, 2011.

Clint Jukkala's work, as I've known it, has always been defined by its expressive geometric abstraction. Earlier paintings often brought to mind—for me, at least—computer circuitry or networks. And yet, Jukkala's commitment to the quirkiness of the hand-painted line lent those paintings an engaging warmth that balanced their technological allusions.

Geometric abstraction and the wandering nature of the line still characterize Jukkala's paintings. But the series showing in the Giampietro Gallery evidence a fundamental evolution in Jukkala's approach, particularly in reference to texture.

The title of the show—Even If and Especially When—is taken from the title of a 1990's album by the psychedelic garage band Screaming Trees. While I would hesitate to call these paintings "psychedelic"—despite the often bold and sometimes clashing colors—their abstract depiction of portals does bring to mind Aldous Huxley's "doors of perception."

As I recall Jukkala's older works, I remember them as featuring flat fields of color. Here, Jukkala—often using both oils and acrylics—ranges from painting watery, translucent expanses of paint to thick impasto building on the surface like cake frosting.

His use of color and the materiality of the paint is further enriched by blending different hues in some areas and striating the surface in others. Jukkala's play with texture and coloration creates tension between a perceived sense of depth and, at the same time, a perceived flattening of the surface.

In paintings like "Mirage" and "Common Occurrences," it feels like we are looking through a window at, respectively, a gradient blue sky over a turbulent blue sea or a yellow sky streaked with washes over a foreground of thickly applied red, brown and orange riven with horizontal ravines. Still, these suggestions of landscape are contained within framings that resist representational interpretation. Jukkala manages a fine balancing act between kineticism and control.

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Wednesday, October 05, 2011

Opening reception for Al Coyote Weiner at New NEST Art Center Saturday night

1720 Fairfield Avenue, Bridgeport
Crazy Quilt: the Human Condition—Artworks by Al Coyote Weiner
Sat., Oct. 8, 2011, 5—9 p.m.

Press release

"As an artist," Al Coyote Weiner writes, "I view life, nature, and the human condition as a crazy-quilt of interpretation and artistic choice. Some things, as superficial as a mouse entering an aperture, or the forces of nature determining our ultimate fate, are both integral to our journey.

"Irony, joy, love, and humor are some of the elements of the human trial. Hopefully, my aesthetic will broaden the viewers' perspective and enhance the freedom of choice. My wish is to employ my particular voice, and to achieve art that is fearless and uncompromising."

Actor, singer, writer, professor, and artist, Al Coyote Weiner has been involved in the art and entertainment world for over thirty years, from New York to Florida, and England. In the 60’s, he landed several minor acting roles, and secured a place with Lee Strasberg, a prominent acting coach, for lessons and advice.

Living in Coconut Grove, FL, he wrote and published his poetry, and then returned to the University of Bridgeport to study literature and writing. He furthered his studies in Europe after a Fulbright Scholarship offer for studies in India and Africa, earning his MACW in Creative Writing at Antioch International University, in Oxford and London, England. He creative work includes copywriting, songwriting, voice-overs, freelance articles, and screenwriting. His one-act play was accepted for production at the National Theater of Australia. He studied as a playwright at Yale Drama School, and served there as an adjunct professor in film studies. He has completed two albums of original, contemporary music.

Weiner has had 10 one-man shows, participated in group exhibitions, and been accepted for numerous juried shows.

Saturday's show will also include music presentations by Joseph Higgins (tonal keyboard) and Warren Bloom (guitar and harmonica).

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Artist reception Thursday of next week at Middlesex Community College

Middlesex Community College Pegasus Gallery
100 Training Hill Road, Chapman Hall, Middletown, 1-800-818-5501
Jennifer Wheeler: Recent Works in the Pegasus Gallery
Through Oct. 31, 2011.
Artist reception: Thurs., Oct. 13, 11:30 a.m.—1 p.m. in Pegasus Gallery.

Press release

Jennifer Wheeler employs bright, saturated colors and dislocating compositions of both formal and narrative themes. Paintings in Wheeler’s Wonderland series are hallucinogenic riffs on the horror vacui ("fear of empty space") traditions of Celtic and Islamic art in as much as the abstract space of a kaleidoscope. Here however, fragmented imagery of the “Alice in Wonderland” narrative collide within a world of both implied violence and imaginary play. Whirling and tumbling Alice figures, menacing cats, rabbits and mushroom forms are engaged by Godzilla, baby dolls and Barbie. Upturned dresses and suggestive paper cutout imagery are threatened by long dramatic shadows. In this series Alice's adventure is a loss of innocence and references more expansive issues of childhood trauma

Wheeler holds a BFA from the Lyme Academy College of Art where she currently teaches. She earned an MFA from Western Connecticut State University and also teaches at the University of Connecticut and Three Rivers Community College.

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Monday, October 03, 2011

Mary Lesser show opens at City Gallery this Sunday

City Gallery
994 State St., New Haven, (203) 782-2489
Mysteries: New Work by Mary Lesser
Oct. 6—Nov. 6, 2011.
Opening reception, Sun., Oct. 9, 2—5 p.m.

Press release

City Gallery is presenting Mysteries: New Work by Mary Lesser, (Web), an exhibit of paintings, prints and new media from Oct. 6 through Nov. 6, 2011. The opening reception is on Sun. Oct. 9, 2—5 p.m.

The work represents thoughts and emotions inspired by the poems of Taije Silverman, Jane Kenyon, Charles Beaudelaire and others. The theme is the mysteries of life, death, nature and regeneration. The exhibit includes acrylic paintings, monotypes, artist books and other media new for the artist.

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"Take 5" show at Branford Artists Cooperative

Branford Artists Cooperative
211 Montowese St., Branford, (203) 589-6995
Take 5 @ BAC
Through Oct. 28, 2011.

Press release

(I missed getting this info up in time for the preview party and Open House but the show is up through Oct. 28. HH)

Check out TAKE 5 @ BAC!, an exhibition of five Branford artists hosted by the Branford Artists Cooperative (BAC) beginning with a preview party and open house on September 30 and October 1. The show features member artists Scott Paterson, Ray Mathews, Dana Baldwin Naumann, Owen Sea Luckey, and Kristin Merrill.

Painter Scott Paterson's work over the last 40 years has been nonobjective. His current paintings, however, represent his recent foray into figurative themes, painting simple, small, homemade sculptures he makes from wood, cardboard, wire, etc. Scott has shown in numerous one and two-person shows in California and Connecticut. His work is in many private collections.

Ray Mathews has been creating fine, hand-blown art glass since 1975. His work can be found in some of the finest galleries both nationally and internationally. Ray offers glass blowing classes, workshops and rents furnace time to experienced glassblowers at his studio at the Glass Hut in Branford.

Sculptor and painter Dana Baldwin Naumann creates fanciful sculpture, mostly crafted from lead sheets coated with copper or zinc patinas. Art Critic Steve Starger from the Azoth Gallery wrote "Naumann's finely wrought sculptures aren't depressing or oppressive. He draws on African and mythological references to create monolithic faces that are inspired by ritual masks and statuary, like monuments or totems left by a long-vanished civilization. These elongated faces appear aloof and ascetic, but are also strangely poignant, and each emanates a sense of mystery and longing."

Textile artist Owen Sea Luckey has been focusing on "RE-DO," her latest creations of recycled, gently worn sweaters. These are deconstructed and embellished with one-of-a-kind, hand-knit, felted collars, cuffs, embroidery and antique buttons. It is a labor of love and fun. She continues to explore hand-knitting, felting and unusual outcomes from creating basic functional wearables.

Kristin Merrill's passion is creating art from natural materials. Her necklaces and earrings have a soft, fluid and delicate appeal even though they are constructed of fused sterling silver, semi-precious stones and pearls. Her sculpture work has grown and expanded from adorned driftwood to wood and found object pieces and altars.

The show runs through Oct. 28 and is free and open to the public. The BAC gallery is located at 211 Montowese Street in Branford, and open Tuesday and Thursday from 10 a.m.—3 p.m. and other times by appointment. Branford Artists Cooperative provides working studio space and art exhibits to the public. BAC fosters the development of local artists and promotes arts in the community.

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