Mariah Garnett - December 2021
Mariah Garnett (b. 1980, Portland, ME; lives and works in Los Angeles) mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience.
Mariah Garnett (b. 1980, Portland, ME; lives and works in Los Angeles) mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. Garnett received an MFA from California Institute of the Arts in 2011 and a BA from Brown University in 2003. Recent solo exhibitions have been held at Los Angeles Municipal Art Gallery, CA (2019); Metropolitan Arts Centre, Belfast, UK (2016); Los Angeles Contemporary Archive (2016); Buenos Tiempos Int., Brussels, Belgium (2014); 2nd Floor Projects, San Francisco (2013); and Human Resources, Los Angeles (2010). Garnett's work has been included in group exhibitions at Fierman Gallery, New York (2019); Magic Hour, Joshua Tree (2018); New Museum, New York (2017); Vamiali, Athens, Greece (2017); Goldsmiths, London, UK (2017); National Broadcast, Ireland (2016); Hammer Museum, Los Angeles (2014); ARTSPACE, Auckland, NZ (2014); and Brooklyn Museum, New York (2012). She is the recipient of the Guggenheim Fellowship in Film/Video (2019); Macdowell Colony Fellowship (2017); Harpo Emerging Artist Grant (2017); Artadia Los Angeles Award (2016); Rema Hort Mann Emerging Artist Grant (2015); and California Community Fund Atlass Fellowship (2014). Her feature film Trouble debuted at BFI London Film Festival 2019, UK and New York Film Festival 2019. Garnett's work is in the collection of Hammer Museum, Los Angeles.
Jesse Littlefield - December 2021
Jesse Littlefield (b. 1977, Massachusetts) has mounted a solo show at Zieher Smith & Horton (New York) and was featured in a two-person exhibition alongside Sadie Laska at Harper’s Books (East Hampton, NY).
Jesse Littlefield (b. 1977, Massachusetts) has mounted a solo show at Zieher Smith & Horton (New York) and was featured in a two-person exhibition alongside Sadie Laska at Harper’s Books (East Hampton, NY). Littlefield has participated in group exhibitions at Galeri Jacob Bjorn (Aarhaus, Denmark), Gallery Steinsland Berliner (Stockholm), and Martos Gallery (New York). Jesse Littlefield currently lives and works in Portland, Me.
B. Ingrid Olson - November 2021
B. Ingrid Olson (b. 1987) lives and works in Chicago, Illinois. In 2022, Olson will have concurrent solo exhibitions, History Mother and Little Sister, at the Carpenter Center for the Visual Arts at Harvard University, Cambridge, Massachusetts.
B. Ingrid Olson (b. 1987) lives and works in Chicago, Illinois. In 2022, Olson will have concurrent solo exhibitions, History Mother and Little Sister, at the Carpenter Center for the Visual Arts at Harvard University, Cambridge, Massachusetts. Recent solo and two-person exhibitions include Fingered Eyed, i8 Gallery, Reykjavík (2019); Forehead and Brain, Albright-Knox Art Gallery, Buffalo, New York (2018); Klein / Olson, The Renaissance Society, Chicago, Illinois (2017). Select group exhibitions include The Inconstant World, Institute of Contemporary Art Los Angeles, Los Angeles, California (2021); Dependent Objects, The Museum of Contemporary Art, Chicago, Illinois (2018); Being: New Photography 2018, The Museum of Modern Art, New York, New York (2018); and Lost Without Your Rhythm, Aspen Art Museum, Aspen, Colorado (2018). Olson graduated with a BFA in 2010 from the School of the Art Institute of Chicago in Illinois.
Never odd or even (perhaps the bone I think I am biting is my own tail), 2013-2020
Inkjet print and UV printed matboard in aluminum frame
14.5 x 12.5 in or 12.5 x 14.5 in (36.8 x 31.75 cm or 31.75 x 36.8 cm)
Isaac Jaegerman - November 2021
Isaac Jaegerman is a visual artist working in Portland, Maine. His work centers on drawing and painting, printmaking and cut-paper mediums. Inventing landscapes and pulling natural artifacts into abstract space, Jaegerman explores the way nature can be off-balance, full of near symmetry while falling into disorder, dissonant and alluring.
Isaac Jaegerman is a visual artist working in Portland, Maine. His work centers on drawing and painting, printmaking and cut-paper mediums. Inventing landscapes and pulling natural artifacts into abstract space, Jaegerman explores the way nature can be off-balance, full of near symmetry while falling into disorder, dissonant and alluring. Jaegerman has been an artist in residence at the Vermont Studio Center, Hewnoaks Artist Colony, ME, and the Gardenship Residency, NJ. He is a co-founder and co-director of New System Exhibitions in Portland, ME, and recently had an exhibition of ekphrastic work based on a collaboration with poet and fiction writer, Elias Peirce at New System. He has shown his work at Able Baker Contemporary and Cove St. Arts in Portland, ME, and the Pocket Gallery, Newark, NJ. Jaegerman received his BA in Visual Art from Bowdoin College, Brunswick, ME, in 2016.
Kathleen Henderson - November 2021
Kathleen Henderson is a visual artist living and working in the Bay Area. With a tense and energetic line, using oil stick and brush on paper, she creates works that are at once comic, perverse, poignant, and beautiful.
Kathleen Henderson is a visual artist living and working in the Bay Area. With a tense and energetic line, using oil stick and brush on paper, she creates works that are at once comic, perverse, poignant, and beautiful.
Her work has been the subject of numerous solo shows in Los Angeles and San Francisco as well as the Drawing Center in New York. She has received a National Endowment for the Arts grant and is in the collections of the Hammer Museum and the Los Angeles County Museum of Art. She has been a staff artist at Creative Growth Art Center in Oakland for over ten years. Creative Growth is the country’s oldest and largest center for artists with disabilities in the country. She is the founding editor of the Creative Growth magazine, which examines and showcases the unfolding and expanding world of art and disability. Henderson also runs a weekly poetry workshop for poets with disabilities in Oakland with participating poets around the country and publishes their yearly chapbook.
Melissa Levin - September 2021
Melissa Levin is an artist-centered curator, values-driven arts administrator, and steadfast advocate for just and equitable practices in the arts. She has over 15 years of experience leading non-profit arts organizations and realizing ambitious public art projects and exhibitions.
Melissa Levin is an artist-centered curator, values-driven arts administrator, and steadfast advocate for just and equitable practices in the arts. She has over 15 years of experience leading non-profit arts organizations and realizing ambitious public art projects and exhibitions.
For more than 12 years, Melissa worked at Lower Manhattan Cultural Council (LMCC) where she was the Vice President of Cultural Programs. Her role encompassed wide-ranging institutional and artistic leadership, including directing LMCC’s major artist-centered and public-facing initiatives. From 2010–2017, she led the inaugural and ongoing design and programming at LMCC’s multi-disciplinary Arts Center at Governors Island, supporting 60+ artists year-round and attracting 8,000 visitors during a 4-month public season. She oversaw multiple competitive artist residency programs, operating out of temporarily vacant commercial spaces in Lower Manhattan, and annually serving upwards of 100 artists. Melissa also curated and produced the River To River Festival, a critically-acclaimed, two-week, site-based festival, transforming over 25 public and historically significant spaces throughout Lower Manhattan and on Governors Island, ultimately producing more than 20 place-based projects for 100,000 audience members annually. Artistically, River To River deeply engaged with complex narratives and histories in sites and spaces, centered womxn, artists of color, and queer artists, and amplified underrepresented voices.
Within her decade-long multi-disciplinary curatorial practice, Melissa has also conceived and curated exhibitions including "(Counter)Public Art, Intervention, & Performance in Lower Manhattan from 1978-1993" (2015–16) featuring Jenny Holzer, Tehching Hsieh, Guerrilla Girls, and Pope.L, among others; and Kameelah Janan Rasheed’s experimental solo show, "A Supple Perimeter" (2017). Starting in 2016, with collaborator Alex Fialho, Melissa has curated exhibitions dedicated to the late artist Michael Richards, including "Michael Richards: Winged" at LMCC (2016) and Stanford University (2019). At Stanford, they also organized the interdisciplinary academic symposium “Flight, Diaspora, Identity, and Afterlife: A Symposium on the Art of Michael Richards.” They recently curated Richards’ first museum retrospective, "Michael Richards: Are You Down?" [https://mocanomi.org/2020/11/michael-richards-are-you-down/]—on view at MOCA North Miami from April–October 2021—and are currently editing and authoring Richards’ first monograph.
In 2017, Melissa’s extensive work with Michael Richards’ estate drew the attention of the art advisory firm Art Agency, Partners and she went on to lead their newly formed Artists, Estates, and Foundations division as Vice President in its inaugural three years. At AAP, she both shaped the strategy and vision for this new department and worked directly with artists, families, and estates to implement nuanced approaches to promoting their artistic practices, and to developing values-based initiatives.
Deeply committed to field-wide equity and artist-centered non-profit leadership, Melissa additionally serves on the boards of the Alliance of Artists Communities [https://artistcommunities.org] and Danspace Project [https://danspaceproject.org].
Melissa holds a B.A. with honors in Visual Art and Art History from Barnard College.
Lucy Kim - September 2021
Lucy Kim is a visual artist working in painting, sculpture, and biological media. Her work explores visual mechanisms, such as distortion and projection, that are involved in the transition from physical subject to image.
Lucy Kim is a visual artist working in painting, sculpture, and biological media. Her work explores visual mechanisms, such as distortion and projection, that are involved in the transition from physical subject to image. Recent exhibitions were held at the ICA Boston; Broad Institute of MIT and Harvard, Cambridge; Institute of Fine Arts-NYU, New York; Tang Teaching Museum at Skidmore, Saratoga Springs; Lisa Cooley, New York among others. She received her BFA in Painting from the Rhode Island School of Design, and her MFA in Painting and Printmaking from the Yale School of Art, and is a recipient of the ICA Foster Prize, Artadia Award, Ellen Battell Stoeckel Fellowship and the Mass Cultural Council Grant. Kim has participated in artist residencies at the Skowhegan School of Painting and Sculpture, MacDowell, and the Broad Institute. Her work is in the collection of the ICA Boston; Kadist Foundation, Paris/San Francisco; MFA Boston; and the New York Public Library, New York. Kim is an Associate Professor of Art at Boston University.
Dr. Melissa Doft, Plastic Surgeon 1. Oil paint, acrylic paint, urethane resin, epoxy, fiberglass, wood framing, 92 x 60 in., 2016. Photo: Tony Luong
See more of Lucy’s work here.
Auto-Synthetic (Orange). Oil paint, acrylic paint, urethane resin, epoxy, fiberglass, powder-coated aluminum frame, 37 x 23.5 x 2 in., 2018. Photo: Tony Luong
Stephanie Dinkins - August 2021
Stephanie Dinkins is a transmedia artist who creates platforms for dialog about race, gender, aging, and our future histories.
Stephanie Dinkins is a transmedia artist who creates platforms for dialog about race, gender, aging, and our future histories. Dinkins’ art practice employs emerging technologies, documentary practices, and social collaboration toward equity and community sovereignty. She is particularly driven to work with communities of color to co-create more equitable, values grounded social and technological ecosystems. Dinkins is a professor at Stony Brook University where she holds the Kusama Endowed Professor in Art.
Dinkins earned an MFA from the Maryland Institute College of Art and is an alumna of the Whitney Independent Studies Program. She exhibits and publicly advocates for inclusive AI internationally at a broad spectrum of community, private, and institutional venues. Dinkins is a 2021 United States Artist Fellow and Knight Arts & Tech Fellow. Previous fellowships, residencies and support include the Artist Fellow of the Berggruen Institute and Lucas Artists Fellow in Visual Arts at Montalvo Art Center, CA Onassis Foundation, Stanford Institute for Human-Centered Artificial Intelligence, Creative Capital, Soros Equality Fellowship, Data and Society Research Institute Fellowship, Sundance New Frontiers Story Lab, Eyebeam, Pioneer Works Tech Lab, NEW INC, Blue Mountain Center; The Laundromat Project; Santa Fe Art Institute and Art/Omi.
The New York Times featured Dinkins in its pages as an AI influencer. Wired, Art In America, Artsy, Art21, Hyperallergic, the BBC, Wilson Quarterly, and a host of popular podcasts have recently highlighted Dinkins' art and ideas.
Photo by Hilary Schaffner
See more of Stephanie’s work here.
Karen Adrienne - August 2021
Karen moved to Maine in 1987 and taught Printmaking, Drawing, and Bookmaking at the University of Maine @ Augusta until 2017. Her print works have been exhibited nationally and internationally and she has received numerous grants and awards.
Karen moved to Maine in 1987 and taught Printmaking, Drawing, and Bookmaking at the University of Maine @ Augusta until 2017. Her print works have been exhibited nationally and internationally and she has received numerous grants and awards.
Karen’s prints are conceptually and physically embedded in reciprocity. They are built by the mutual relationship of concealing and revealing, plan and chance. As she investigates properties of nature with marks and inky flats of color, she explores properties of paper by folding with the pressure of the press. Layers are built upon until she has captured a momentary balance of chance with a fugitive experience of nature. It’s about chance, and the urge to capture a moment and the vision of that experience. “
Her travels and residencies have informed her creative work and influenced the media used. Artist residencies include Vermont Studio Center Residency, Tilting Artist in Residence, Fogo Island, Newfoundland & Labrador Canada, Anderson Ranch Fellowship sponsored by Boston Printmakers, NEFA Fellowship, NEA & Arts International Travel Grant, MAC grants, Karl Hoffer Society, Fundacion Valpariso, and MARC Residencies.
Karen Adrienne is also the owner and director of Artdogs Studios, founded in 2004, and Circling the Square Fine Art Press, founded in 2007. Both of these studios are located in a rehabbed 1860’s building in the historic district in Gardiner, Maine.
Artdogs Studios creates a community of working artists with five artist day studios and one artist residence. Circling the Square Fine Art Press is an open-access press that builds a community of print-based artist in Central Maine and provides a non-toxic studio and a gallery for the display of their work. The press has participated in local and international print exchanges including the Solisquoy Press in Orkney Scotland, and Estamperia Quitena in Quito, Ecuador.
Photo by Hilary Schaffner
Canaries in the Coal mine
Sky Totem, 2019
See more of Karen’s work here.
Johanna Unzueta - July 2021
Johanna Unzueta (Santiago, Chile, 1974) studied art at the Universidad Católica de Chile in Santiago. Lived in New York City between 2000-2020, currently is based in Berlin.
Johanna Unzueta (Santiago, Chile, 1974) studied art at the Universidad Católica de Chile in Santiago. Lived in New York City between 2000-2020, currently is based in Berlin. She has exhibited widely through Europe, North America, and South America, having solo exhibitions and projects at Modern Art Oxford, Oxford, UK, Eli, and Edythe Broad Art Museum, Michigan State University, Sala de Arte Público Siqueiros, Mexico City, the Jewett Art Gallery, Wellesley College, Wellesley, Galería Gabriela Mistral, Santiago de Chile, Galeria Die Ecke, Santiago de Chile, Proyectos Ultravioleta, Guatemala City, Queens Museum of Art, New York, and Or Gallery, Vancouver. She has participated in group exhibitions at Casa de America, Madrid, 3rd edition de Frestas – Trienal de Artes, Sesc São Paulo, Talbot Rice Gallery, The University of Edinburgh, Sculpture Center, New York, The Drawing Center, New York, X Berlin Biennale, Bronx Museum, New York, The Carpenter Center for the Visual Arts, Harvard University, CRAC Alsace, Altkirch, Museo de Arte Contemporáneo Universidad de Chile, Santiago, David Rockefeller Center for Latin American Studies, Harvard University, Museu de Arte Contemporãnea da Universidade de São Paulo and A Gentil Carioca, Rio de Janeiro.
Residencies and study programs include LaunchPad Lab, La Boissier, France, La Tallera, Open Sessions, The Drawing Center, New York, Sala de Arte Publico Siqueiros in Cuernavaca, Mexico (2015), Beta Local, San Juan, Puerto Rico (2013), DIVA, The Danish Arts Council Committee for International Visual Arts (2012), Capacete, Rio de Janeiro (2007) and Art Omi, Gent, New York (2001). She has co-edited and published artists’ books with Felipe Mujica since 2008. Unzueta is a recipient of the FONDART grant, from the Chilean Board of Arts and Culture (1999, 2004, and 2010) and the DIRAC prize from the Chilean Ministry of Foreign Affairs (2004 and 2008)
See more of Johanna’s work here.
Daniela Rivera - July 2021
My paintings are usually site-specific and react to the spaces of the exhibition. I recreate utilitarian uses of painting, which alter representational and perceptual planes, to make the painting perform as space and ask the body to assume the role of the figure of the painting.
Born in Santiago, Chile, Daniela Rivera received her BFA from Pontifcia Universidad Católica de Chile in 1996 and her MFA from the School of the Museum of Fine Arts at Tufts, Boston in 2006. She is currently an Associate Professor of Studio Art at Wellesley College. She has exhibited widely in Latin American cities including Santiago, Chile, as well as in the United States. She has been awarded residencies at Surf Point, Proyecto ACE in Buenos Aires, Vermont Studio Arts Center, and the Skowhegan School of Paintings and Sculpture.
She has been the recipient of fellowships and grants from The Rappaport Prize, Now + There, VSC, the National Association of Latino Arts and Culture, the Massachusetts Cultural Council fellowship, and the Berkshire Taconic Foundation. Recent or upcoming exhibitions include: The Andes Inverted, Museum of Fine Arts, Boston (2017–2018); Fragmentos para una Historia del Olvido/ Fragments for a History of Displacement, The Davis Museum, Wellesley College, Wellesley, MA (2018–2019); En Busca de los Andes, solo exhibition with Proyecto ACE, Buenos Aires, Argentina (June 2019); Sobremesa (Karaoke Politics), a public art project developed during her Now + There Accelerator Fellowship, Boston MA (summer/fall 2019), and Labored Landscapes (Where the sky touch the Earth) at Fitchburg Art Museum.
See more of Daniela’s work here.
Jen Liu - July 2021
My work starts with research-based fiction. From existing socio-economic and political conditions, I build fictional worlds, fabricated narratives that speak to contested accounts of the past and present.
It's a means of critiquing failures of imagination about how to address pressing social problems, especially through contemporary art and film.
Above all, my motivation for using populist images, tangible props and costumes, and recognizable visual and musical modes, is to make things such as global economic infrastructures emotionally available, intimate.
My current body of work, Pink Slime Caesar Shift, builds on a speculative proposal to build a secret information network for labor activists in China through the domestic food distribution grid - through inserting covert messages into the DNA code of in-vitro beef hamburgers.
I take this proposal as seriously as possible: doing the lab work of inserting newly informative genetic code into beef cells, as well as building sealed, wearable carriers for their possible distribution in food production centers.
For when the speculative future arrives.
Work in other mediums spin out of those methods of genetic engineering.
But this is not just about China’s imperiled activists, meat as a cultural symbol, or new food technologies as solutions to environmental disaster.
This is also about the social-possibilities of re-appropriating technologies, whether it is the technologies of genetic engineering, or the technologies of narrativity.
If the hamburger patty is an industrially replicated object, and the in-vitro burger a banal sci fi concept - what “secret messages” can I stuff it with:
histories of covert political resistance
forgotten female programmers
secret languages
critique of technobabble
more?
Recombinatory approaches and mutation are overall themes.
In hybrid video-animations, industrial texts and corporate sales brochures are cut together with firsthand accounts of labor activists and factory workers:
Frankensteins that are the consequence of corporate abstractions
Genetically altered biological samples are embedded in jewelry editions
The speculative is brought down to earth, given a “real” future on “real” bodies
In choreography, industrial processes and their toxic costs are humanized
Beautiful and repulsive at the same time
In paintings, large feminine fingers push and prod the world around them
“Diagramming” the jingo and jango of global economics
See more of Jen’s work here.
Marcia Minter - July 2021
Marcia Minter, Co-Founder and Executive Director of Indigo Arts Alliance is a seasoned creative professional, dedicated arts advocate and community leader deeply committed to social and cultural activism.
Marcia Minter is a seasoned creative professional, dedicated arts advocate and community leader deeply committed to social and cultural activism. Her work on numerous boards represents the interest of underrepresented voices, talents and citizen constituents. She has spent her professional career as an Executive Creative Director for some of the world’s most iconic brands. Her curatorial work focuses on photography, symposiums on the intersection of art and social practice, exhibition planning and implementation. Currently, she serves on the Maine Arts Commission and is a Trustee of the Portland Museum of Art and Haystack Mountain School of Crafts.
Glendalys Medina - June 2021
Glendalys Medina investigates structures such as architecture, character, language, image and culture. Through drawings, sculptures, videos and performance she pulls these structures apart, pieces them together, and makes them hers. Self-improvement and habitual practices such as incantations and mediation activate her work. Medina's artistic practice is a spiritual one in which geometry reveals creative intelligence, where obscurity equals complete presence and daily practices cultivate personal growth.
Glendalys Medina is a conceptual interdisciplinary visual artist who was born in Puerto Rico and raised in the Bronx. Medina received an MFA from Hunter College and has presented artwork at such notable venues as PAMM, Participant Inc., Performa 19, Artists Space, The Bronx Museum of Art, El Museo del Barrio, The Museum of Contemporary Art in Vigo, Spain, and The Studio Museum in Harlem among others. Medina was a recipient of a Pollock-Krasner Foundation Grant (2020), a Jerome Hill Foundation Fellowship (2019), an Ace Hotel New York City Artist Residency (2017), a SIP fellowship at EFA Robert Blackburn Printmaking Workshop (2016), a BACK IN FIVE MINUTES artist residency at El Museo Del Barrio (2015), a residency at Yaddo (2014, 2018), the Rome Prize in Visual Arts (2013), a New York Foundation for the Arts Fellowship in Interdisciplinary Art (2012), and the Bronx Museum Artist in the Marketplace residency (2010). Medina is currently a professor at SVA’s MFA program and lives and works in New York.
Photo by Heather Henriksen
See more of Glendalys work here.
Andrea Sulzer - June 2021
From my studio overlooking the Androscoggin River in Maine, I make drawings, prints, and paintings. Sometimes these morph into three-dimensional objects.
From my studio overlooking the Androscoggin River in Maine, I make drawings, prints, and paintings. Sometimes these morph into three-dimensional objects.
A desire to build a history with material, form, and ideas, alongside a determination to maintain an openness and freedom within this search, drives my work. It’s a constant pull between building a foundation and dismantling it, always trying to get closer to the underlying rhythm of and motivation for making things.
I received my Master of Fine Arts from the Glasgow School of Art, Scotland. I also attended the Skowhegan School of Painting and Sculpture. I have had solo museum exhibitions at the Portland Museum of Art, Bowdoin College, and the University of Maine Museum of Art. I exhibited at ICON Gallery, Brunswick Maine over a span of about 20 years. My most recent solo gallery exhibition, once removed, took place at Maurer Zilioli Contemporary Arts in Munich, Germany. I also recently completed two large-scale public art projects for Maine schools through the Maine Percent for Art program.
Photo by Heather Henriksen
See more of Andrea’s work here.
Farewell to May Sarton's "House by the Sea" - Downeast Magazine
In her 1977 memoir The House by the Sea, May Sarton described her first visit to the 1916 Colonial Revival in York that she would call home for the last 22 years of her life.
Bridget M. Burns for Downeast Magazine. February ‘21.
Photo by Rich Beauchesne | courtesy of Seacoastonline.com
In her 1977 memoir The House by the Sea, May Sarton described her first visit to the 1916 Colonial Revival in York that she would call home for the last 22 years of her life. “Once I stood on that wide flagstone terrace,” she wrote, “and looked out over that immensely gentle field to a shining, still blue expanse, the decision was out of my hands.”
The house she called Wild Knoll was demolished this winter, dismantled over three days in November, to the disappointment of some of Sarton’s readers and admirers. The author of 16 books of poetry, 19 novels, and 12 memoirs and published journals, Sarton, who died in 1995, was one of Maine’s most prolific literary figures. She rented Wild Knoll from friend and arts patron Mary-Leigh Smart, who lived next door and died in 2017, willing that her 47-acre property, called Surf Point, be converted to an artist colony after her death. The Surf Point Foundation, which began offering residencies to artists in 2019, met pushback from those who hoped to see Sarton’s home preserved, but executive director Yael Reinharz says the costs of repairing and maintaining the aging house were insurmountable.
“I think the initial feelings of many people were feelings of distress,” Reinharz says. But the modestly endowed foundation faced costs for structural repairs, a new septic system, and the replacement of windows, siding, insulation, and more. Reinharz is confident the loss of Wild Knoll won’t affect the public’s remembrance of Sarton. “I think the people who know the most about her work are very well prepared to continue to foster that legacy,” she says. Meanwhile, the flagstone terrace remains, a spot where resident artists can look out over the blue expanse, as Sarton once did.
Danielle Mysliwiec - May 2021
My creative and intellectual interests as an artist center around the durational and tactile possibilities of process-based painting. By extruding thick oil paint in small systematic marks, I slowly build highly textured surfaces that appear to be woven.
My creative and intellectual interests as an artist center around the durational and tactile possibilities of process-based painting. By extruding thick oil paint in small systematic marks, I slowly build highly textured surfaces that appear to be woven. Daylight is an essential component for viewing the work as the light’s constantly shifting direction, color, and quality activates the textured surfaces and colors of my paintings and brings movement and change into the viewing experience. It is important to me that my paintings resist being comprehended as static images. I want to assert paintings’ ability to offer a moment to moment unfolding. Thinking about painting as a mode of experiencing “slow time” within a digital age of instant images interests me. In this “slow time” of looking, a space of contemplative, free-associative thinking is opened, a kind of visual and intellectual infinity loop between myself and the painting. To me this is analogous to that same space I enter into when in the natural world. It can be walking through geometric patterns in the sand, watching the wavering reflections of light on a wall, seeing mica shimmer. It is in these very spaces both with my work and in nature that my work comes to me in my mind. I often think of how the paintings relate to other natural events that take place incrementally, seemingly imperceptibly, and then all at once – an earthquake, a gradient of color, a wave. I know that Surf Point will give me a unique opportunity to work with light, time, and contemplation and an expansive natural space and studio space that I do not have in my daily life.
William Marcellus Armstrong - May 2021
I'm invested in the intersection of archives, blackness and representation. Always looking for reflections of my own identity within visual culture, my approach to projects is research-based, excavating under-recognized or hidden archives of blackness.
Marcellus is an interdisciplinary media-maker, media programmer and educator. He is invested in archives of Blackness, queerness, and their relationship to materials. Marcellus received his MFA in Fiber and Material Studies from Cranbrook Academy of Art in 2017. In 2018, he created "The 48203 Dance Show," a community based dance show project which reflected on the legacy and archive of WGPR-TV33's public access program, The New Dance Show. His work has been exhibited both nationally and internationally, including at The Sculpture Center (Cleveland), Museum of Contemporary Art Detroit, Vernon Gardens (Los Angeles), Oolite Arts (Miami) and with Good Weather at SUNDAY Art Fair (London). He has realized projects with the Detroit Symphony Orchestra and Red Bull House of Art Detroit, and has been featured in the online publications of Arts.Black and Vice's The Creator’s Project. In 2019, his first solo show, "Smoke Garments" was exhibited at Reyes Finn gallery in Detroit, Michigan. Marcellus is originally from the suburbs of Baltimore and currently resides in Philadelphia where he is a Program Manager for Scribe Video Center.
See more of William’s work here.
Carly Glovinski - April 2021
Carly Glovinski received her BFA from Boston University in 2003 and is represented by Morgan Lehman Gallery in New York.
Carly Glovinski received her BFA from Boston University in 2003 and is represented by Morgan Lehman Gallery in New York. She has been awarded residencies at the Studios at MASS MoCA, North Adams, MA, Teton ArtLab, Jackson, Wyoming, and the Vermont Studio Center, and has received grants from the New Hampshire Charitable Foundation, the Berkshire Taconic Community Foundation, and the Blanche Colman Trust. She has had solo exhibitions at Colby Museum of Art, Maine; Morgan Lehman Gallery, New York; Indianapolis Contemporary; and Carroll and Sons, Boston. Her work has been included in numerous group exhibitions including at the deCordova Museum and Sculpture Park, Lincoln, MA, Center for Maine Contemporary Art, Boston Center for the Arts, Portland Museum of Art, Portland, ME, Museum of Contemporary Art, Jacksonville, FL, Utah Museum of Contemporary Art, and the Visual Arts Center of New Jersey. Her work has been published or reviewed in major publications such as New American Paintings, ArtMaze Magazine, Hyperallergic, Vice, and Maake Magazine. Carly currently lives and works in New Hampshire.
More of Carly’s work can be found here.
Crystalle Lacouture - April 2021
Crystalle Lacouture is an artist based in Boston and North Adams, MA. She received her BFA in Painting/Printmaking from Skidmore College in 2000.
Crystalle Lacouture is an artist based in Boston and North Adams, MA. She received her BFA in Painting/Printmaking from Skidmore College in 2000. During the decade she lived in NYC, Crystalle was a longtime assistant to activist artists Nancy Spero and Leon Golub, a printmaker at the Lower East Side Printshop, and worked at the Academic Arts Agency, College Art Association. In addition to her full-time studio practice and other curatorial projects Crystalle is a curator at TOURISTS, a hotel near Mass MoCA in North Adams, MA. She exhibits her work throughout New England and New York and is represented by Beth Kantrowitz from BK Projects and Drive-By Gallery.
More of Crystalle’s work can be found here.