Category Archives: Art
Wednesday, March 22 at 6:30 PM – 9 PM
The Franklin Cafe
118 Main St, Gloucester, Massachusetts 01930
PARTY SNAPSHOTS FROM THE BEAUTIFUL, BEAUTIFUL CHARLES MOVALLI EXHIBIT OPENING TODAY AT THE CAPE ANN MUSEUM
Lovers of Cape Ann scenes and vistas, don’t miss the exquisite Charles Movalli exhibit “Cape Ann and Beyond,” opening today at the Cape Ann Museum. The reception is free and open to the public. Cape Ann’s landscapes seen through the eyes of Movalli are simply gorgeous. GO today!
From the Cape Ann Museum: The Cape Ann Museum will host a special exhibition of paintings by Charles Movalli, opening on Saturday March 4 and remaining on display through May 21, 2017. Cape Ann & Beyond will be drawn from private collections throughout the region and will be complemented by gallery talks and lectures exploring Movalli’s career and the Cape Ann School of painters.
For over forty years, Charles Movalli was a pillar of Cape Ann’s year-round art community, a distinguished landscape and marine painter, a prolific writer and advocate for the arts, and a widely respected teacher. His paintings have been showcased in solo and group exhibitions throughout the region and showered with awards; his writings on art and artists have been published widely and his editorial skills earned him a 25 year stint as contributing editor of American Artist magazine. Often referring to himself as “the luckiest man in the world,” during his long and successful
Larry Elardo Hand Building Class March 2017
Monday March 27, 2017 at 10:00 AM EDT
Monday May 22, 2017 at 1:00 PM EDT
Add to Calendar
15 Lexington Ave
Unit 3 (yellow)
Magnolia Gloucester, MA 01930
Dear Clay Friends,
If you like texture and building big, this is the class for you. At the request of the students, this 9 week class will offer you the option of staying for a
4th hour of hand building (10-1pm is with instructor). This is a partially project based class that you will then take and make your own under the wonderful guidance of Larry Elardo.
Building: March 27 – May 8, 2017
Glazing: May 15 and May 22, 2017
Show & Tell: June 5, 2017, 10-11am
Time: There are 2 options for class
10am-1pm (with instructor present)
10am-2pm (additional hour of studio time)
Skill Level: Intermediate+
Limit: 9 students
Cost: $380 10am-1pm with instructor or
$480 10am-2pm (last hour is studio time)
Includes: Instruction, 25 lbs clay and bisque firing only
Additional fee: Glaze and glaze firings are additional and will be calculated at the end of the class
Clay: Available by preorder at $1/lb in 25lb bags. Most people order an additional 50 lbs.
Get more information
If you have any questions, please do not hesitate to contact Seyrelwilliams@gmail.com.
Thank you for their attention and response, and we look forward to seeing you at class.
Lexicon Gallery & Studios
What if…a section of Dogtown brush was cleared away? If you missed Chris Leahy at Sawyer Free Library last week come to a summit by Essex County Greenbelt & Mass Audubon at Cape Ann Museum March 4
“This Saturday morning forum is offered in collaboration with Essex County Greenbelt, Friends of Dogtown, Lanesville Community Center and Mass Audubon and held at Cape Ann Museum. The forum will be moderated by Ed Becker, President of the Essex County Greenbelt Association.”
UPDATE: Cape Ann TV is scheduled to film the event!
Chris Leahy gave a presentation at Gloucester Lyceum & Sawyer Free Library on February 23, 2017: Dogtown- the Biography of a Landscape: 750 Million Years Ago to the Present
A photographic history through slides presented by the Gloucester Lyceum and the Friends of the Library. Mary Weissblum opened the program.
Chris broadly covered the history of the local landscape from an ecological bent with a bias to birds and blueberry picking, naturally. New England is a patchwork of forested landscapes. He stressed the evolution of bio diversity and succession phenomenon when the earth and climate change. “Nature takes a lot of courses.” He focused on Dogtown, “a very special place”, and possible merits of land stewardship geared at fostering greater biodiversity. Perhaps some of the core acres could be coaxed to grasslands as when parts of Gloucester were described as moors? Characteristic wildlife, butterflies, and birds no longer present may swing back. There were many philosophical takeaways and tips: he recommends visiting the dioramas “Changes in New England Landscape” display at Harvard Forest HQ in Petersham.
“Isolation of islands is a main driver of evolution”
“Broad Meadow Brook Wildlife Sanctuary in Worcester has the highest concentration* of native butterflies in all of Massachusetts because of secondary habitats.” *of Mass Audubon’s c.40,000 acres of wildlife sanctuaries statewide. “The fact that Brook Meadow Brook is in greater Worcester, rather than a forested wilderness, underscores the value of secondary habitats.”
“1830– roughly the time of Thoreau (1817-1862)– was the maximum period of clearing thus the heyday for grasslands…As farmsteads were abandoned, stages of forests return.”
Below are photos from February 23, 2017. I added some images of art inspired by Dogtown. I also pulled out a photograph by Frank L Cox, David Cox’s father, of Gallery on the Moors (then) compared with a photo of mine from 2011 to illustrate how the picturesque description wasn’t isolated to Dogtown.
Louise Upton Brumback (1867-1929), Dogtown- Cape Ann, 1920 oil on canvas
Prepping space for new art exhibit “Mothers and Daughters” curated by Juni Van Dyke opening March 4 at Jane Deering Gallery
Jane Deering Gallery
Mothers and Daughters
curated by Juni Van Dyke
Juni Van Dyke | Paige Farrell
Mathilde Iervolino | Bobbi Iervolino Kovner
Jane Crotty | Anne Marie Crotty
Esther Moss Proctor | Eliza Proctor
Constance Rhinelander | Mary Rhinelander McCarl
Helen Burgess | Valerie Sadler
Saturday. March 4th. 3-6PM
19 Pleasant Street . Gloucester MA
March – 31, 2017
from the gallery printed matter:
“Mothers and Daughters suggests many possibilities associated with ‘nature versus nurture,’ as well as more obvious associations having to do with gender. Here, however, a table is set with gratitude for what we were able to give and receive…”
The day after Oscars for Manchester by the Sea: Gloucester and Cape Ann shine at MPC MA film and media event at WGBH
Talk about timing! The topics for the fascinating Massachusetts Production Coalition (MPC) event held at WGBH were planned in advance of any Academy Awards results. After a season of many accolades including the prior evening’s Oscars news, boy did that gathering buzz. Conversations sparked with local names, industry folks, businesses and locales such as: Willow Rest, Pratty’s, local film folks, Gloucester Stage, Israel Horovitz, Kenneth Lonergan, local police, Rt 128, and the Cape Ann Chamber of Commerce.
The two featured presentations were Legendary Entertainment’s Matt Marolda on analytics in film, followed by a Meg Montagnino-Jarrett led panel discussion on the making of Manchester by the Sea.
The Magnolia Historical Society is having another Art in the Schoolhouse in April. If you are interested in becoming a vendor please follow the link below
Click on the More tab and register for the show. Also please fill out the attached Inventory Sheet. mhs_artshow2017inventorysheet
If you need more information please let me know and I can help. This event is always fun and successful.
Delightful illustration course at Rocky Neck Cultural Center: award winning children’s book author illustrator, fine artist and Film Animator ANNA VOJTECH
Rediscovered Artist: seeking information on Arthur William Wilson (1892-1974) also known as ‘TEX’, WINSLOW WILSON and PICO MIRAN active NYC, Rockport, Gloucester
Granddaughter Claudia Wilson-Howard writes Good Morning Gloucester seeking any information, biographical “tidbits”, or recollections about fine artist Winslow Wilson who resided in Gloucester and had studios in Gloucester and Rockport ca. 1946-1972.She is working on an excellent project: a digital resource about her grandfather.
“I am the granddaughter of Winslow Wilson,” she writes, “an artist who spent most of his life on Cape Ann, painting under two names in two studios. One studio, in Gloucester, the second in Rockport, and a member of the Rockport Art Association from 1946-1972, he was an active member of the art community. I have developed a website (www.winslowwilson.com), which is a work in progress. I am attempting to develop as detailed a biography as possible, and was hoping …to reach out to the community to help gather any tidbit of information. Thank you very much!”
Perhaps a reader of this blog can help identify a sitter in one of Wilson’s stellar unidentified local portraits.
Arthur William “Winslow” “Tex” Wilson, also known as Pico Miran was an American artist–primarily a painter– born on July 20, 1892 in Brady, Texas. His family moved to Junction, TX, where he graduated from high school, also the address he used while attending Harvard. Wilson was a veteran of the First World War (National Guard, AEF) deployed to France 1918-1919. He died November 18, 1974 in Miami, FLA.
Wilson transferred from Texas A&M University to Harvard. Roy Follett his professor at Texas A&M described Wilson’s impact on him as “atomic”, possessed with a creative intellect that surpassed the teacher’s. And then the unthinkable…
For Wilson, life changed punishingly July 4, 1912 as he accidentally and horrifically killed his fellow undergrad, a friend and co-worker Merle DeWitt Britten on the job, driving the streetcar that crushed him. Wilson left Harvard, then came back. He skipped classes. At times he soared. He was a writer and editor of The Harvard Monthly literary magazine with an impressive group of multi talented peers and friends: ee cummings; John Dos Passos; critic Gilbert Seldes; poet (Pulitzer prize winner) Robert Hillyer; poet (later Director MA Historical Society) R. Stewart Mitchell; Scofield Thayer*; and James Sibley Watson*.
The Harvard Monthly was founded in 1885 and ceased publication in 1917, its aim “to publish the best (undergraduate) articles, fiction and verse by students in the University.” The words “and verse” were added after E.E. Cummings gave their class commencement speech in 1915 on “The New Art” extolling contemporary expressions in music, the visual arts, and literature. “What really brought down the house was Gertrude Stein’s Tender Buttons,” he’d later say about this bit in the speech:
“unquestionably a proof of great imagination on the part of the authoress, as anyone who tries to imitate her work will discover for himself. Here we see traces of realism, similar to those which made the “Nude Descending a Staircase” so baffling. As far as these “Tender Buttons” are concerned, the sum and substance of criticism is impossible. The unparalleled familiarity of the medium precludes its use for the purpose of aesthetic effect. And here, in their logical conclusion, impressionistic tendencies are reduced to absurdity. The question now arises, how much of all this is really Art? The answer is: we do not know. The great men of the future will most certainly profit by the experimentation of the present period. An insight into the unbroken chain of artistic development during the last half century disproves the theory that modernism is without foundation; rather we are concerned with a natural unfolding of sound tendencies. That the conclusion is, in a particular case, absurdity, does not in any way impair the value of the experiment, so long as we are dealing with sincere effort. The New Art, maligned though it may be by fakirs and fanatics, will appear in its essential spirit to the unprejudiced critic as a courageous and genuine exploration of untrodden ways…how much of all this is really Art? The answer is: we do not know. The great men of the future will most certainly profit by the experimentation of the present period.” – ee cummings 1915
*The Dial was founded by James Sibley Watson and Scofield Thayer. Emily Sibley Watson, Founder of Memorial Art Gallery in Rochester was friends with Marianne Moore
1917 NYC apartment with Cummings
Wilson and e.e. cummings (1884-1962) were roommates at Harvard, friends who hit the town. (There’s one story with them caught at a prostitute’s apartment.) They remained friends enough to room together more and carouse Greenwich Village. Thanks to $1000 from Thayer, Cummings joined Wilson in New York at 21 East 15th Street in 1917.
There are striking parallels, comparisons, and secrets in the lives they led. Both men were artists and writers that had tragic and shattering life experiences, and estranged and scandalous family stories.
According to Virginia Spencer Carr‘s 1984 biography of John Dos Passos, Dos Passos envied these two: “Wilson was already signing his paintings (when he signed them at all) “Winslow Wilson” and Dos Passos surmised (when?) that he would be recognized eventually for his stunning portraits and seascapes. He was convinced that Cummings was too assured a reputation as a painter and saw Dudley Poore as the best poet of the lot from Harvard who aspired to a career in letters.”
All three enlisted in WW1. Cummings signed up for the volunteer ambulance corp along with Harvard chums Hillyer and Dos Passos. Cummings ended up a POW and wrote a novel about the experience, The Enormous Room. Cummings said he was a self-taught painter, helped along by friends from Harvard. Did he sign up for classes in New York? Where did Wilson study art in New York before WW1?
(Incidentally, Gertrude Stein was also a volunteer camion; it seems like a ‘who wasn’t?’ roster. The majority of the 3500+ drivers came from ivy league schools, especially Harvard. The American Field Service (AFS) ambulance unit grew to be the largest and was founded by Gloucester’s own A. Piatt Andrew in 1915, after helping out the year before.)
After the War, Wilson was in New York and abroad in Paris, and London (infamously). There was a blink of a marriage and divorce from Elizabeth Brice, and a daughter Caroline, a dancer, that he never saw again. At 34, Wilson and his 19 year old girlfriend Winifred Brown abandoned a baby. It was an international scandal. Wilson’s family stepped up and his brother Ernest raised the boy as his own. It was four decades before the baby learned about his biological parents. I know these wincing details because that boy, H Robert Wilson, is a good writer and did the research.
Arthur Wilson signed his paintings as “Winslow” Wilson, which fits as a wink at Homer. Seascapes as a subject. Private solitary life. It also works as a visual swapping out of “Tex” for East Coast “Winslow”. The initials become double letters (like e.e. cummings), and nearly a double name, minus one letter and there’s an anagram of Wilson. It’s even a way to differentiate his name ‘Arthur Wilson’ from other artists and writers with the same name(s), initials (AW or the comic Aww), and friends. Winslow Wilson is decidedly not Edmund Wilson (though like many writers he credits “nearly everything” about his sources of style as a painter to him), artist Edward Arthur Wilson, artist Arthur Wilson (UK), artist Arthur Wilson (LA), artist Edward Adrian Wilson, to name a few.
Mostly, Wilson using “Winslow” seems a deliberate break from his traumatic past: living with the death of his friend, letting his family down, fighting in WW1, divorce, scandal, family secrets, and that difficult ee cummings portrait poem about him.
ca. 1922 ee cummings poem ‘Arthur Wilson’
E.E. Cummings poem “Three Portraits” (I. Pianist II. Caritas III. Arthur Wilson) is published in the modernist magazine the Broom: An International Magazine of the Arts, Volume 2, Number 4, July 1922. Founded and backed not nearly enough by Harold Loeb and Alfred Kreymborg, the Broom publication was a short lived (1921-24) modernist monthly featuring “unknown, path-breaking” writers and artists (reproductions, original designs, translations). The cummings poem ‘Arthur Wilson’ was illustrated with woodcuts by Ladislaw Medgyes. The issue’s cover design was by Fernard Leger;
Picasso, Modigliani and William Gropper drawings were reproduced inside.
The text for III. Arthur Wilson follows (refer to the image for the visual spatial break in cummings prose).
III. Arthur Wilson
as usual i did not find him in cafes, the more dissolute atmosphere
of a street superimposing a numbing imperfectness upon such peri-
grinations as twilight spontaneously by inevitable tiredness of flang-
ing shop-girls impersonally affords furnished a soft first clue to
his innumerable whereabouts violet logic of annihilation demon-
strating from woolworthian pinnacle a capable millenium of faces
meshing with my curiously instant appreciation exposed his hiber-
aimable immensity impeccably extending the courtesy of five o’clock
became the omen of his prescience it was spring by the way
in the soiled canary-cage of largest existence.
(when he would extemporise the innovation of muscularity upon the
most crimson assistance of my comforter a click of deciding glory
inflicted to the negative silence that primeval exposure whose elec-
tric solidity remembers some accurately profuse scratchings in a
recently discovered cave, the carouse of geometrical putrescence
whereto my invariably commendable room had been forever subject
his Earliest word wheeled out on the sunny dump of oblivion)
a tiny dust finely arising at the integration of my soul i coughed
Like The Harvard Monthly and The Dial, Broom contributors were or would become recognized luminaries: Sherwood Anderson, Guillaume Apollinaire, Hans Arp, Conrad Aiken, Kenneth Burke, Robert M Coates, Jean Cocteau, Malcolm Cowley, Hart Crane, Adolph Dehn, Andre Derain, Raoul Dufy, Paul Eldridge, T S Eliot, Wanda Gag, Robert Graves, Juan Gris, William Gropper, George Grosz, Rockwell Kent, Paul Klee, Fernand Leger, Lipchitz, El Lissitzky, Amy Lowell, Louis Lozowick, Marianne Moore, Henri Matisse, Amedeo Mondigliani, Laszlo Moholy-Nagy, Pablo Picasso, Man Ray, ‘Charles Sheeler, Gertrude Stein, Joseph Stella, Wallace Stevens, Paul Strand, Max Weber, William Carlos Williams, and Virginia Woolf among other artists and writers.
It was a small world and circle. The Broom contributors likely read that ee cummings poem about Wilson, and several knew both men. Names carried over from the Harvard-Dial network (Amy Lowell, Marianne Moore).
EE Cummings published Part III in later editions by the title “as usual I did not find him in cafes” omitting Arthur Wilson’s name.
1924 e.e. cummings visits Gloucester
to see writer, friend and editor R. Stewart Mitchell (1892-1957) who had a home here. Stewart Mitchell was another Harvard alumni (1915) and former Harvard Monthly editor. His face inspired the nickname “The Great Auk”. How nice being friends with artist-writers.
After serving in WW1, Mitchell was a managing editor and regular contributor for The Dial from 1919-21, then published poet. From 1928-1937 he was Managing Editor of the New England Quarterly journal, and from 1929- 57 an editor and Director of the Massachusetts Historical Society. On the Ma Historical Society seal : “It would hardly have done to compare the members of the Society to oxen, sheep, or birds … but bees had always had a good reputation for the sweetness and light of their honey and their wax. “– 1949 Stewart Mitchell
Did Cummings and Arthur W. Wilson come to Gloucester while attending Harvard or at other times in the 1920s to see Stewart? Was Cummings in Gloucester other years, decades? Did Wilson and Mitchell re-connect in Gloucester? John Sloan’s etching Frankie and Johnnie illustrates EE Cummings’ play HIM. Did Wilson interact with Stuart Davis in Gloucester or New York?
(Aside: In 1984 the play ViVa Cummings! opened in Gloucester under the direction of William Finlay and the New Stillington Players. Did they know Cummings had been here…)
Wilson fails to update his Harvard alumni association requests. Here’s the 1935 entry:
1951 ELEANOR ROOSEVELT VISITS EXHIBIT AT AAA, NYC
Wilson’s painting from the 1951 Contemporary American Artists exhibition at the Associated American Artists won the people’s choice award, and his solo exhibit in June was attended and written about by Eleanor Roosevelt in her nationally syndicated MY DAY column:
HYDE PARK, Sunday—At lunch last Friday I had a visit from Mr. Tatsukichiro Horikawa, who is over here from Japan on a trip studying the World Federation movement in different countries. He has visited Switzerland, Germany, France and England, as well as the United States, and he came to see me before in New York City; but he wishes particularly to come up to Hyde Park and place some flowers on my husband’s grave.
I was especially interested in talking to him because, like so many of the World Federalists, he felt that the United Nations was very inadequate. He felt one must bring about more unity—and particularly, if we were going to have any settlements in the Far East, there must be unity between Great Britain and the United States as well as the other nations in their policy.
I asked him if he did not think it was a good deal to expect to have a unified policy among 60 nations when the organization bringing them together had been in existence only six years. It seems to me it requires longer for people to understand how the other peoples think and feel. World federation might someday be possible, but not until people have had a greater length of time to find out about each other. One of the American World Federalist members had also written me saying that the federation must come first and then be followed by understanding. I think this begs the question of how you obtain the federation and how, having obtained it in name, you do anything practical with it.
In New York City on Thursday afternoon I went to see an exhibition of paintings of the sea done by Winslow Wilson, at the Associated American Artists Galleries on Fifth Avenue. This exhibition was arranged under the auspices of Greenwich House, toward whose support a portion of the proceeds of any sale will go.
Mr. Wilson told me he did not paint actually from a scene he was looking at, but from memory. He said he particularly liked to use the sea because it was to him a symbol of the stress and strife we were all going through at present; and still it had a kind of discipline and control which was what most human beings were striving for today and finding difficult of achievement. I found some of his paintings quite beautiful, and reminiscent of many seacoasts I have known. In certain ones the light made one think of tropical climates; in others the shores of Maine seemed to stand out. More often the sky and the sea were stormy, but the light was nearly always breaking through. Let us hope that out of this turbulent period of history the light will break through for all human beings.
The other day I was sent a little pamphlet written by Eloise R. Griffith on the national anthems and their origin. I think this will be of interest to a great many people who want to know a little more than the mere words of the songs which we hear sung so often.” – Eleanor Roosevelt
I am thunderstruck reading a portion of sales would benefit Greenwich House. Talk about an undercurrent.
1951 Post-Modern Manifesto in the same year as the AAA seascapes
“A complete study of Cummings should take penetrating account of his painting and drawing. And no estimate of his literary work can begin without noting the important fact that Cummings is a painter.” That’s the opener for Syrinx., a critique of Cummings by Gorham B. Munson published in Secession July 1923. “His first stimulus comes from the emotional and perceptive materials of his experience…Cummings has jabbed his pen into life, but he has also twisted it in the wound, and it is this twist of the pen that makes literature.”
Knowing ee cummings facility with visual arts transforms how his poems read. He identifies both pursuits. The press announcement for Cummings appointment at Harvard in 1952 affirmed that he resided in New York City, writing and painting since the year 1920. It wasn’t that he sculpted marks–‘scratchings’- that could be seen as pictures in print,–it’s this charge when visual art and writing advance toward or basically obliterate media boundaries.
After reading Wilson’s 1951 Manifesto For Post-Modern Art published under his pseudonym Pico Miran, I felt a similar tug. For Wilson, when it comes to ideas and individuality, words and paint –and as many names and identities to match– matter. Some of Wilson’s paintings could be shown alongside pages from ee cummings The Enormous Room.
There are takeaways and points one can make about this manifesto and painting series of Wilson. I can think of art I’d like to show together with this work.
Yikes, the thoughts about women! Here’s Wilson writing as Pico Miran in his Manifesto, emphasis on man apparently:
“But while he proposes to save the personal symbol, he must emphatically reject the conception of its privacy–a conception which he is compelled to regard as an effeminate misery: he cannot help thinking an almost unmanly exaggeration of the one bit of feminine make-up in every artist, here flouncing in absurd esthetic millinery, with coy desire for secretiveness, mysterious subjectivity, and vain feelings of cryptic superiority to the vulgar mass.”
1951 Hidden, not lost
Wilson evidently maintained some contacts; note the supportive reviews by friends (Moore, Burke, Wheelock) later reprinted for his 1957 solo exhibit at Vose Galleries in Boston. Edward Alden Jewel, the New York Times critic, described Wilson as “living a hidden life of pure dedication and drudgery” in his 1951 NYC AAA review.
2015 Found. A great teacher
On Cape Ann, Wilson taught figurative painting through the Rockport Art Association, which he joined in 1946. Wilson is recollected as a dazzling teacher who could bring out the best in his students. One student’s 2015 recollection is a must read: “Bing McGilvray of the Cape Ann Museum was fortunate to communicate with a local artist familiar with Wilson, Betty Lou Schlemm.” Wilson sounds like the famous and captivating professors at Harvard. Another unforgettable piece about Wilson’s biography concerns a local exchange between Pico Miran and Peter Anastas following a 1954 review by the latter.
For local readers, the www.winslowwilson.com website helpfully provides some Gloucester addresses associated with Wilson.
- June 21, 1951: Bradford Building, 209 Main Room 208, Gloucester, MA
- August 1, 1951: Marine Basin, E. Gloucester, MA
- June 18, 1952: Bradford Building, 209 Main Room 208, Gloucester, MA
- July 26, 1955: Bradford Building, 209 Main Room 208, Gloucester, MA
- 1967 maybe 195 Main Street, Gloucester, MA
- 1969 maybe 195 Main Street, Gloucester, MA
- June 2, 1971: PO. Box 414, Gloucester, MA
21 Est 15th Street, 154 East 39th Street, Carnegie Hall, 3 Washington Square North in Greenwich Village, Woodstock, N.Y., and Lime Rock, CT.
Lone Gull Coffeeshop 146 Main Street, Gloucester, MA, stands out with local art. Two dynamite mini solo shows are currently on view:
One exhibit features 20 oil paintings, acrylic paintings and gouache drawings by fine artist, Leigh Slingluff. Slingluff works on Cape Ann and resides in Rockport. You may have seen her award-winning painting on exhibit during Cape Ann Plein Air or in the seArts Art Loan @Bass Rocks annual exhibit.
Lone Gull maintains a sign up sheet for 2 featured art exhibits monthly. They have begun booking into 2018 (although scattered months with 1 wall may still be available)
Bob Stephenson’s painting is on permanent display.
Lone Gull gives space to various art books and an entry peppered with local current notices, too.
Fish City Studios, 39 Main Street, Gloucester
Thanks to the Holiday Delights Youth Acting Program at Gloucester Stage, I had the lucky chance to spend some time with artist Carol Kriekis. I thought her home and studio were a perfect reflection of her warmth and style, elegant and layered like an Aesthetic Movement interior. Kriekis works in different media, mostly grounded in representation. I saw series inspired by nature and renderings of flowers.
Recently she’s transformed her classic ‘Glosta’ and other Gloucester designs into oval stickers, each with some hand flourish. The potential for art everywhere around us — stickers, hand painted– that had me thinking about aestheticism, too.
Commission design for clients:
Photograph below shows some new branding design. There’s something coming this spring for Caffe Sicilia…No reveals, yet.
by Dennis Flavin at Trident Gallery, 189 Main Street Gloucester
“I like to live in the now.”
David Hockney’s exhibit opens at the Tate on February 9th as the fastest selling show in Tate exhibition history. It will come to the Metropolitan Museum of Art November 2017-February 2018.
In 2013 I wrote about “A major retrospective of David Hockney’s work completed over the last decade, A Bigger Exhibition (San Francisco, de Young Museum), has generated voluminous press and praise, mostly for his legacy of embracing new technology. Oh, and how old he is now, somehow compelling him to create before time runs out…(See a good overview of the de Young exhibit on Newshour but listen at 4:24 dispensing this cliché while introducing another. When hasn’t Hockney investigated any series, media or pursuit without daunting and constant focus?)”
The first Whitney Biennial presented at the new Whitney opens March 17 – June 11, 2017. Although there are no working artists residing in MA that are on the checklist, two artist filmmakers born in Massachusetts were selected: Robert Beavers and James N. Kienitz Wilkins.
Save the date: Sunday, February 12, 2017.
Come on over to the Magnolia Library for a fun time.
Trash talk on twitter: Museum of Fine Arts Boston Patriots vs Atlanta’s High Museum #MuseumBowl plus Smocks and Jocks Fine Art Super Bowl auction
MFA highlight Thomas Sully (American (born in England), 1783–1872) The Passage of the Delaware, 1819
MFA John Singleton Copley (American, 1738–1815) Mrs James Warren (aka Mercy Otis-Patriot, writer), ca.1763
High Museum collection: Richard Misrach (American, born 1949) Untitled #892-03 photograph, 2003
Check out the museums’ twitter accounts @mfaboston vs @HighMuseumofArt. For more fine art and football see
Super Bowl weekend super fundraiser: Smocks & Jocks
The National Football League Player’s Association (NFLPA) held the 12th annual ‘Smocks and Jocks’ Fine Art Auction and Jazz Brunch featuring art created by active and former NFL players (and others). The benefit raises money for the Gene Upshaw Player Assistance Fund.
“Our players are so many different things…The original thought was to create an opportunity for former players to come to the Super Bowl in a more relaxed atmosphere and to show a different side of the professional athlete by them being able to display their art.”
video below caption: Super Bowl XLVII (2013) Washington Redskins Andre Collins interview- time stamp at 2:20 pans through 2013 auction items
Ceramic art patterned after Minnesota Lakes by hall of fame Carl Eller–former defensive end Minnesota Viking star– was commissioned for the new Vikings US Bank Stadium.
“Carl Eller provides artwork for new Vikings Stadium” youtube clip below
And for Craig Kimberly – Baron Batch (Bansky of the NFL) and fellow former Steeler teammate John Malecki founded Studio A.M. Gallery in Pittsburgh
Flashback: visiting Clark Museum to see Bierstadt’s Puget Sound on loan from the Seattle Art Museum thanks to the Patriots Super Bowl XLIX win. (If Seattle Seahawks won, Homer’s West Point Prout’s Neck in the Clark would have gone west.)
Have you wanted to learn how to paint your own piece of furniture and learn the basic techniques of chalk paint? Join this workshop to help you get it done. Students learn the basic techniques of one-two color distressed finish with chalk type paint and waxing and distressing techniques. Bring your own small piece of furniture and we will help you transform it into a beautiful vintage piece.
Students will leave confident to tackle any project at home.
We supply all of the materials and professional guidance to teach you all you need to know to create a fabulous finish!!
We will provide adult beverages and snacks
I saw Jeff in his gallery on Saturday on my walk so I went in to say hello. As usual I was very impressed with the work hanging on the walls so I hurriedly took photos of what I could while he was busy talking “ skies in the different seasons in Gloucester” with a group of people. If you look at the photos please realize his work is much better than the photos of his work. His gallery is at 16 Rogers Street in Gloucester . Email is jweaverart@hot mail.com and website http://www.jeffweaverfineart.com