Tuesday, January 04, 2011

Upcoming Show

Insatiable: Our Rapacious Appetite for More

Jan. 18-March. 10, 2011

Opening Reception
Thursday, February 3, 5-7:30 p.m.

Gluttony is the new status quo. Our appetite for food, power, wealth, sex, new experiences, and information is seemingly insatiable and poses increasingly greater risks to the welfare of our planet and its inhabitants. This juried exhibition will feature work by 42 atists from the US and abroad that explores our ravenous craving for excess and/or the consequences of indulging our endless desire for more.

Edie Bresler
Donna Catanzaro
Marie Picard Craig
Marli Diestel
Anthony Fisher
Virginia Fitzgerald
Karen Frostig
Katerie Gladdys
Justin Goodall
Amy Guidry
Hope Hardesty
Max Heller
Rachael Jablo
Lauren Kalman
Sam Keller
Minsung Chloe Keyoung
Kirstin Lamb
Anne Lambert
Yvonne Love & Gabrielle Russomagno
So Yoon Lym
Leslie Macklin
Monika Malewska
Elizabeth Michelman
Mitzi Lynn Mize
Nancy Morrow
Kathleen O'Hara
Anne Percoco
Rachel Bee Porter
Nina Prader
Gina Randazzo
Kayla Risko
Andrea Rosenthal
Alison Safford
Rosalie Ripaldi Shane
Kirsten Rae Simonsen
Gulin Sungur
Doug Tausik
Dylan Vitone
Callie Wile
April Wood

Gallery Hours:

Mon.-Fri., 9-5 p.m. or by appointment


Michele L'Heureux

About the Juror:

Judy Haberl is a Professor of Sculpture at Massachusetts College of Art and Design. She works with multiple media ranging from photography to sculptural installations. Ms. Haberl has exhibited widely, including: Decordova Museum and Sculpture Park; Rose Art Museum at Brandeis University; ICA, Boston; Fotofest, Houston; Snug Harbor Cultural Center, Long Island, NY; Stux Gallery, New York City; Yale University of Art and Architecture; and Gallery Kayafas, Boston. She has been the recipient of numerous grants and awards, including: A.R.T. (Artist's Resource Trust), L.E.F., Massachusetts Cultural Council, and Howard Foundation Grant.

Copied from a lovely Sottobosco

From Cornelis De Heem's "Vegetables and Fruit Before a Garden Balustrade," although I managed to elide all that make this a beautiful sottobosco picture, including the grey-pinkish night(?) sky, the balustrade, the small structure in the distance in what looks like a large field, and the romance of the trees creeping over the protected garden wall. Sottobosco (forest still life) is one of my new favorite types of still life.. even supplanting the sumptuous or pronk still life. (I'm currently reading "The Magic of Things: Still Life Painting 1500-1800" published by Frankfurt's Städel Museum.) My copies are always rough and somewhat ham-fisted, I like the speed of these things.. I hope that the awkwardness translates into the slower copies in the paintings. Certainly the elision of much in the ground that makes this picture special is a comedic error born of a certain myopia I'm trying to unlearn.