April 14-29, 2012
2012 M.F.A. Thesis Exhibition II
Jesse James Thomas of Yellow Springs, OH and Liz Wilson, of Gilford, NH, candidates for the Master of Fine Art degree in painting from the Department of Art and Art History, UNH, present recent works which represent the culmination of their two-year intensive study.
Jesse James Thomas’s work reflects his interest in the landscape and wilderness. Working on location in the Packers Falls area of Durham, NH, he creates abstract views of the natural world, using heavy applicationsof paint to build-up complex, color-strewn forms. Alternatively, Liz Wilson uses thin layers of paint to create ethereal transparencies in which the clarity of an image dissolves into a fleetingly recognizable impression of a passing moment, then withdrawn.
2012 M.F.A. Thesis Exhibition I
Clara Coleman of Dayton, OH and Lennie Mullaney of Portsmouth, NH, candidates for the University of New Hampshire's Master of Fine Arts degree in painting program, presented recent works which represented the culmination of their two-year intensive study program.
Clara Coleman’s work was drawn loosely from direct observation, focusing primarily on portraits of women and the female figure. Often presenting her models within complex background patterns, she invites the viewer to explore the essence of the character of the subject, captured at a particular moment in time. Lennie Mullaney’s paintings focused on the architectural structure of the Memorial Bridge located between Portsmouth, NH and Kittery, ME. Capturing the real-time deconstruction of the bridge, she seeks to capture this historical moment in time, and to present a portrayal of a familiar structure which has taken on a human-like personality of its own. She captured the decline of the 90-year old structure, its decay and decomposition, all while maintaining its grandeur, and nobleness.
April 14 - May 18, 2012
2012 Senior B.A. and B.F.A. Exhibition
This annual exhibition celebrated the achievements of Bachelor of Fine Arts and Bachelor of Art degree candidates from the Department of Art and Art History, UNH. Bachelor of Fine Arts candidates include: Tara Appleton, Kathryn Archambault, Monica Bancroft, Margo Belisle, Katherine Blanchette, Annie Grace Couvillion, Taylor Maroney, and Sarah A. Nelson.
Tara Appleton uses black outlines most typically found in drawings to enhance and delineate objects, drawing attention to their shapes and their relationship to the surrounding environment. Kathryn M. Archambault’s small canvases allow her to explore the subtle shifts in colors found within the flora and fauna of the plant structures on which she focuses. Charcoal and expressive mark making in the prints of Monica Bancroft capture a distinct moment in time in which the inner personality of her subject is subtley reflected. Clay as a medium to unearth visual elements and to capture the interconnection between the model, the artist, and the viewer is emphasized in the expressive sculpture of Margo Belisle. Katherine Blanchette’s etchings are soft, sketch-like images of everyday life, scenes which are generally taken for granted, yet essential parts of our daily experiences. Annie Grace Couvillion’s digital images explore the natural environment, taking into consideration the results of man-made decision versus natural growth and development on the world in which we live. Finding the balance between stark geometrical man-made architecture and the subtle structure of the human form is the focus of the autobiographical oil paintings of Taylor Maroney. Exterior landscapes, abstractly rendered in the paintings of Sarah A. Nelson, create memory-evoking connectionsbetween structures which unconsciously blend into the landscape, blurring their lines of distinction.
Bachelor of Arts degree candidates whose works will be on display include: Leah Akey; Tyler Beaudoin; Amy Bergeron; Erica Cole; Korrena Cowing; Carly DeLeeuw; Samantha Gates Freese; Samantha McCarthy; Kathryn Michalovic; Jacqueline A. Murphy; Brynn Potter; Carly Rickarby; and Alexia Valhouli.
January 28 – April 4, 2012
Chris Jordan: Running the Numbers
Chris Jordan is an internationally acclaimed artist and cultural activist based in Seattle. His work explores contemporary mass culture from a variety of photographic and conceptual perspectives, connecting the viewer viscerally to the enormity and power of humanity’s collective will. Edge-walking the lines between art and activism, beauty and horror, abstraction and representation, the near and the far, the visible and the invisible, his work asks us to consider our own multi-layered roles in becoming more conscious stewards of our complex and embattled world. Jordan’s works are exhibited and published worldwide.
In conjunction with Chris Jordan: Running the Numbers, the Museum of Art and the UNH Sustainability Academy announced that Bobbby Lambert and Jessica Daigle were the winners of the UNH Student Image and Video Contest: What Sustainability Means to Me. The goal of the contest was to create a collection of thought-provoking videos and images showcasing the sustainability commitment and actions UNH students are undertaking and to make these videos and images available to the public. Video winner Bobby Lambert, of Portsmouth, used home-grown animation in his video “Sustainability through Knowledge.” “The basis for a sustainable lifestyle is a sound education,” he said. “From this, environmental awareness and the knowledge to act accordingly create a better world for all. Educated actions have the ability to inspire others to do the same. This collection of sustainable decisions we make can amount to something monumental." Lambert, who holds a B.S. in environmental resource economics from UNH, is pursuing a graduate certificate in sustainability politics and policy.
Of her winning image Windmill, Jessica Daigle, from Allenstown, said, “I traveled to California and spent about a week on a conservation island. I took this shot after hiking the hills of the island. As I finished my hike, approaching the nearby ocean, I came upon this windmill and felt blessed have found such a beautiful sight.” Daigle is majoring in elementary education and studio arts with a concentration in photography.
Chris Jordan: Running the Numbers was co-sponsored by the UNH Sustainability Academy and the Museum of Art, with additional support from the S. Melvin and Mary Jo Rines Art Exhibition Fund, The Carsey Institute, The Office of Inclusive Excellence Initiatives, The Office of the Provost, and The Center for the Humanities, UNH. All works were courtesy of Kopeikin Gallery, Los Angeles.
What's New: Recent Additions to the Collection
What’s New: Recent Additions to the Collection showcase 19 drawings, paintings, prints, and sculpture, by renowned regional and national artists such as Sigmund Abeles, Ben Aronson, Christopher Barnes, Todd Bartel, Ilya Bolotowsky, Larry Dinkin, Audrey Flack, Johnny Friedlander, Avra Leordas, Marilyn Levin, John Matos, Maud Cabot Morgan, Giovanni Battista Piranesi, Alfred Potter, Louis C. Rosenberg, Ernest P. Roth, Daniel K. Tennant, Victor Vasarely, and Karl Zerbe.
Felice Beato: Photographer in Nineteenth-Century Japan
A British subject of Italian ancestry, Felice Beato (1832-1909) was one of the most successful early photographers in Japan, which was newly opened to Westerners in the 1850s. Arriving in Yokohama in 1863, Beato quickly established the model for commercial photography in terms of subjects, style, and marketing to a Western audience. The first in the United States devoted exclusively to Beato’s photographs of feudal Japan, this special exhibition features nearly 100 albumen photographs, many of which were hand painted by Japanese artists. Beato’s subjects include geisha, samurai, landscape views, and historic sites.
The exhibition featured photographs from the private collection of Tom Burnett, New York City. Guest curator was Eleanor M. Hight, Professor of Art History at the University of New Hampshire. She is the author of Capturing Japan in Nineteenth-Century New England Photography Collections (Ashgate, 2011), Picturing Modernism: Moholy-Nagy and Photography in Weimar Germany (MIT Press, 1995), and the co-editor of Colonialist Photography: Imag(in)ing Race and Place (Routledge, 2004).
Felice Beato: Photographer in Nineteenth- Century Japan,(Intro. by Eleanor M. Hight, and contributions by Tom Burnett and Terry Bennett) a 64-page catalogue is available for purchase in the Museum of Art shop, or by calling 603/862-3712. $18.75 each ($15 for Friends of the Museum of Art and students).
John Wissemann: Postmodern Constructs, Japanese-Style
This exquisite exhibition featured large and colorful drawings that, while faithful to the style of nineteenth-century Japanese woodcuts, short-circuit their iconography and placed these images in the postmodern lexicon of stylistic appropriation: image bereft of the cultural meaning with which they have been historically rife. The result was a visual explosion of exotic figures, geometry, and color. Placed between narrative and design, these works presented a colorful conundrum, one that was supported by several nineteenth-century Japanese woodcut prints, drawn from the Museum of Art's permanent collection, for comparison and contrast. Courtesy of Caldbeck Gallery, Rockland, Maine.
The exhibition afforded visitors an opportunity to respond to the large colored drawings in the form of original haikus which were then posted next to the original works of art. John-Albert Michael, Portsmouth Poet Laureate, responded in-kind with his own original haiku.
September 10 – October 19, 2011
Full Circle: Dahlov Ipcar's Circle Paintings, with a Round of Marguerite and William Zorach
Dahlov Ipcar (American, born 1917) is a noted painter, sculptor, illustrator and author. This exhibition featured a series of her colorful, animal/ecology-related paintings that she executed from 1988-2010. In addition, the exhibition featured examples of work by her parents, the modernist artists Marguerite and William Zorach, on loan from the artist and from the Currier Art Museum in Manchester, NH. Dahlov Ipcar's work is in the permanent collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Brooklyn Museum, as well as other museums and private collections around the country. At 93 years young, the artist still paints every day.
This exhibition was made possible through the generosity of several private collectors, the Currier Museum of Art, Frost Gully Gallery, and the artist Dahlov Ipcar.
Full Circle: Dahlov Ipcar's Circle Paintings, with a Round of Marguerite and William Zorach was recently reviewed by Greg Morell and appears in the current issue of artscope magazine (Sept.- Oct. 2011):
It has always been my contention that when one reaches the tender age of 80, one can basically get away with murder. As with children under the age of seven, octogenarians cannot be held responsible for their actions.
However, I have not formulated a workable perspective of nonagenarians--those rare individuals staring the sisters of fate directly in the eye and challenging them to do their worst.
Dahlov (that’s “olive” with a “D”) Ipgar will be 94 on November 15th. Hearty, strong-willed, lucid as daylight, and painting at the height of her power, Ipgar is the featured artist at the University of New Hampshire’s Art Museum in a special exhibition that opened on the 9th of September and runs through October 19th. The exhibition is entitled “Full Circle.” The title is derived from the fifteen 34” x 34’’ circle paintings that chronicle her major artistic forays of the past 35 years.
Identical in format and geometry, they offer the discerning viewer a rich visual feast, an experience full of zest, color, and magical imagery that conjures the spirits of the animal world. It is a world of balance, a veritable cornucopia of visual motifs that celebrate the weave of life. From the subterranean worlds of the ocean to the winged creatures of the air, all are collaged with colorful exuberance in a beating matrix of interlocking creatures, great and small.
Her latest effort (2011) is entitled, “Blue Moon Circle” and is my personal favorite of those that I was able to preview in late August.
Here two blue Siberian Tigers circumnavigate the moon accompanied by a black and white jaguar and an iridescent green bat. The four corners of the work feature an ibis in a constellation of burning stars, comets, and lunar eclipses. Diametrically across a march hare cavorts in the orange and black stripes of the Bengal tiger. Tightly compacted in the opposing corners are a flight of wild pigs and a cabal of salamanders. Between the center and the four corners flux a convolution of beasts.
On one opposing side a male spear hunter corners a horned antelope. On the contrasting side a black African female accompanied by her white spirit guide paddles a canoe through mystic waters. Her boat is cradled by an enormous mythic alligator encapsulating the boat and its adventurers.
Taking the visual journey through these circle paintings reminded me of getting psychically lost in the interlocking images of a Tibetan Scroll painting emanating out from a central seated Buddha.
Dahlov Ipgar, born in 1917, is the child of Marguerite and William Zorach. Her father was a sculptor and her mother a painter, both were
favored with distinguished careers in the New York art world. Dahlov was her father’s muse and served as the principal model for both her father and his coterie of art students. Dahlov was plagued with hours of posing and she confided to me that she dreaded the idea of marriage to another artist fearing yet more tedious hours of posing.
Three works by her parents are included in the UNH exhibition along with a showcase of selected works from members of the Boston Sculptors Gallery which are featured on the lower level of the Museum’s gallery.
When I queried Dahlov on the secret of her amazing health, longevity, and productivity, she responded: “I credit my luck with my diet---heavy cream, rich butter and eggs, Jersey whole milk and lots of beef and pork.”
Selected Works from the Boston Sculptors Gallery
Sculpture, by its nature, is three-dimensional. This exhibition, installed both inside the Museum of Art and outside in the adjacent courtyard, featured 38 works of art by 18 artists who are members of the landmark cooperative, The Boston Sculptors Gallery. The co-op was founded in 1992, and has become Boston's premier venue for sculpture. Whether on the walls or in the round, inside or out, come and discover the realms of contemporary sculpture. And why Nick Capasso, Associate Curator of the DeCordova Museum and Sculpture Park, states, “The Boston Sculptors Gallery, one of the few cooperative sculpture galleries in the country, is among the most stimulating venues for 3-D contemporary art in the Northeast.”
Artists featured in the exhibition included: B. Amore, Castleton, VT; Caroline Bagenal, Newburyport, MA; Kim Bernard, North Berwick, ME; Benjamin Cariens, Somerville, MA; Gillian Christy, Providence, RI; Murray Dewart, Brookline, MA; Donna Dodson, Jamaica Plain, MA; Sally S. Fine, Boston, MA; Mags Harries, Cambridge, MA; Sarah Hutt, Boston, MA; Peter Lipsitt, Brookline, MA; Andy Moerlein, Bow, NH; Julia Shepley, Somerville, MA; Margaret Swan, Melrose, MA; Marilu Swett, Jamaica Plain, MA; Hannah Verlin, Somerville, MA; Ellen Wetmore, Fitchburg, MA; and Dan Wills, Marshfield, MA. Curated by Carol Seitchik, in association with the Boston Sculptors Gallery.