Harley Bartlett: Casting a Wide Net in the Art World

Morning Outing“Morning Outing” by Harley Bartlett

A native New Englander, Harley Bartlett was educated at the Pennsylvania Academy of Fine Arts and the University of Pennsylvania. He was recently elected to the prestigious Guild of Boston Artists.

Bayview Gallery, 58 Maine Street in Brunswick, is pleased to share some of Bartlett’s paintings, along with his thoughts about them.

Of his work “Morning Outing,” Bartlett says, “One of the aspects of Maine that I really love is seeing an old Windjammer or classic yacht making for sea. I am immediately removed to a distant time when such a sight was commonplace. There is a romance to an old sailing craft sadly unmatched by our modern vessels.”

Bartlett is a New Englander in home, heritage and spirit. An early interest in drawing led him to pursue a career in painting. His work demonstrates a breadth of talent that includes the landscapes and maritime paintings we exhibit in the gallery, as well as portraiture and murals.

Bartlett recently painted the official portrait of former Rhode Island Governor Carcieri.  His murals grace the walls (or ceilings) of such disparate venues as churches and  synagogues, restaurants and private homes.

Winding River“Winding River” by Harley Bartlett

“New England is known for the many rivers that wend their way through its fields, villages and cities on the path to the sea,” Bartett says of his painting “Winding River.” “This timeless view of a river’s turn looks off to old agricultural fields with a small herd of cows and a hint of a distant town.  A small path along the river’s edge entices the viewer to enter.” 

For more information Barlett’s works and Bayview Gallery, visit http://www.bayviewgallery.com/

R. Luke DuBois Artist Talk + Reception at BCMA 3/30

Fashionably“Fashionably Late for the Relationship” by R. Luke DuBois

The Bowdoin College Museum Art (BCMA) in Brunswick will present a solo exhibition by New York-based “new media” artist R. Luke DuBois, featuring a new portrait commissioned by BCMA of Black Lives Matter and Campaign Zero activist DeRay Mckesson, who is a Bowdoin College alumnus (class of 2007).

On March 30, an Artist Talk will take place at 4:30 p.m. followed by a reception from 5:30 to 7 p.m.

DuBois’s simultaneous work as a composer, computer programmer, filmmaker, and installation artist challenges traditional categorization, and his multifaceted approach will be reflected in the forthcoming video-based work that will debut at the BCMA on March 31.
The new commission will be presented as part of the exhibition “R. Luke DuBois – Now,” alongside dozens of DuBois’ works created over the last 15 years.

Films, works on paper, installations, video, and sound works will all be included, testifying to DuBois’ prodigious work since the 1990s, which ranges from musical composition and collaborative performance, to large-scale public installations, film, and generative computer works. In coordination with “R. Luke DuBois – Now,” on view at BCMA from March 31 until September 4, the Museum has also organized a robust series of public programs.
These include a keynote lecture by the artist, a presentation by Matthew McClendon, curator of modern and contemporary art at the Ringling, and the organizer of “R. Luke Dubois—Now;” gallery conversations led by visiting artist Erin Johnson and Crystal Hall, a member of the College’s digital humanities faculty, and a panel discussion of DuBois’s role in the broad context of new media art featuring Jon Ippolito and Richard Rinehart, co-authors of “Re-collection: Art, New Media, and Social Memory.”
“We are proud to bring “R. Luke DuBois – Now” to Bowdoin College, which is made all the more meaningful by DuBois’s groundbreaking portrait of DeRay Mckesson,,” remarked Bowdoin College Museum of Art Co-Director Anne Collins Goodyear. “As a Bowdoin alumnus making an international impact on contemporary society through his political activism, the commission is doubly important as both a witness to our present moment as a nation and as a part of Bowdoin’s legacy, and we’re honored that it will remain here at the BCMA as part of our permanent collection.”

“As an institution dedicated to exploring new forms of knowledge and modes of communication, we look forward to presenting DuBois’ distinct artistic perspective, which challenges us all to consider complex issues of politics and personal identity,” added Frank Goodyear, Bowdoin College Museum of Art Co-Director.

Building on the artist’s interest in how information reflects and shapes our world, the newly commissioned work will draw from online networks and social media to create a reflection of both Mckesson and the activist’s most influential modes of communication. Footage of Mckesson addressing topics crowd-sourced from the Bowdoin student body will be interspersed with data and language drawn from Mckesson’s own online presence through Twitter and other social media channels. This time-based portrait will be generative, evolving over time, continually incorporating new material generated by Mckesson’s communication about the issues that motivate his own activism.

Lonely (1)A More Perfect Union: Lonely,” by R. Luke DuBois

Originally organized in 2014 by the Ringling Museum of Art, R. Luke DuBois – Now, DuBois’ inventive use of political and demographic data in his diverse works will have a special resonance in the BCMA presentation during the 2016 presidential election season.

“I’m continuously fascinated by the political underpinnings of American portraiture, which makes DeRay Mckesson an especially rich subject,” said R. Luke DuBois. “As an activist who regularly leverages data and the interconnectivity of online networks to raise awareness about political and social issues, our interests are aligned in a variety of ways which will inform the forthcoming work.”
Three dominant themes permeate DuBois’ work, including the mining and metamorphosing of data into art, the investigation of temporality, and the construction of contemporary portraiture, or how we represent and conceptualize ourselves and others. These themes will be explored through the presentation of notable works such as Hindsight is Always 20/20 (2008, commissioned by the Democratic National Convention), A More Perfect Union (2010-2011), and (Pop) Icon: Britney (2010), among others.

Drawing from the annual State of the Union addresses given by presidents to Congress, Hindsight is Always 20/20 consists of a single Snellen-style eye chart for each president to have given a State of the Union address. Instead of the typical characters present in an eye chart, the piece employs words drawn from their speeches, presented in order of most frequent (top line) to least frequent (bottom line) word. The result is a startlingly clear snapshot of the lexicon of each presidency, containing a mix of historically topical keywords and rhetoric unique to each president and the time period during which they served in office.

In his work “A More Perfect Union,” DuBois looks at American self-identity through the medium of online dating services. Culling data from over 20 online dating sites, the work is organized according to the same heuristics as the U.S. Census, sorting dating profiles by Congressional District and subjecting the imagery and text to statistical analysis. Revealing a “dating lexicon” of each state, DuBois constructed maps using the words provided by 16.7 million people describing themselves and those they desire—resulting in a romantic atlas of the nation, with keywords from dating profiles in lieu of the city and town names.

In the same series, DuBois also designed maps of the entire U.S. that are colored in a “red-state/blue-state” pattern, showing how different adjectives, such as “funny” and “lonely,” are distributed across the country. By presenting a range of works from DuBois’ multifaceted career in context with one another, R. Luke DuBois – Now will demonstrate how DuBois operates at the intersections of the visual, performative, and the time-based arts in a manner that mirrors his audiences’ collective 21st-century experience in a world of globalized information.

Bowdoin College Museum of Art is located at 9400 College Street in Brunswick. For more information, call 207-725-3275.

Remembering Charles Movalli: His Life + Work

Fred and Ginger“Fred and Ginger” by Charles Movalli (1945-2016)

“It is with a very heavy heart that I tell you we have lost our beloved colleague and master painter, Charles Movalli,” said Susan of Bayview Gallery in Brunswick. “Charlie battled multiple myeloma for 16 years. Despite many clinical trials and experimental therapies, the cancer claimed his life last week. He was 70 years old.”

Charles had an extraordinary life.  With his wife, Dale Ratcliff, he lived in his childhood home in Gloucester, MA, where he and Dale maintained their studios.  Despite an early interest in art, Movalli earned a Ph.D in English, edited three books on the life and work of his mentor, Emile Gruppe, and wrote numerous journal articles forAmerican Artist as well as other publications.

“Always generous with his time and eager to share his knowledge, Charles hosted Robert Colburn (our former Gallery Director) and me at his studio,” continued Susan at Bayview Gallery. “Robert interviewed Movalli for a piece we published in Constant Contact last year.  The most fitting tribute I can offer Charles is to share with you the highlights from Robert’s comments following his interview with this 21st Century Master.”

Some of the paintings Robert used in discussing Movalli’s insights and techniques have been sold.  But, clicking on any of the photos will display all of Movalli’s available work on the Bayview Gallery website.

Robert Colburn writes: “Charles Movalli had what I consider the most essential quality of a true artist – an insatiable curiosity for life and the world around him. It was this quality that drove him to constantly be questioning his own work, constantly be analyzing the work of other artists and generously sharing his time and experiences with artists of every skill level.

Charlie was modest to a fault, always interested in learning from others as much as he was teaching them, and always striving to dispel the “mystery” of art making, giving access to all who were interested in trying their hand at it.

When Susan and I visited the Movallis in Gloucester, Charlie and I spent four hours talking about art — his art, my art, and art in general.

At first blush, Charlie’s paintings can seem a bit intimidating. Our conversation really helped open up his paintings for me in ways that I hadn’t thought of before.  Most importantly, I came to understand that the lively brushwork and luscious surfaces on his canvases were made possible by careful consideration of essential elements of composition.

Charlie wasn’t a slave to rules or formula, but he believed in structure, almost as if, in every painting, he built a stage for the paint to sing and dance on.”

“Elise Ansel: Distant Mirrors” at Bowdoin College Museum of Art

ansel-revelations-V-news2Elise Ansel’s “Revelations V”

“Elise Ansel: Distant Mirrors” features a group of nine paintings and seven drawings by Portland-based artist Elise Ansel that she newly created for her exhibition at Bowdoin College Museum of Art’s Markell Gallery through April 17.

Ansel drew inspiration for the works from a late Renaissance devotional painting, Denys Calvaert’s “Annunciation,” ca. 1597, part of the Museum’s permanent collection. The special exhibition presents Ansel’s gestural, sumptuously colored, and highly personal works in the same gallery as “Annunciation,” offering audiences a dynamic visual dialogue between artists 500 years apart. “Elise Ansel: Distant Mirrors” celebrates the art of painting as a medium of expression past and present, and ignites questions about beauty and aesthetics, in relation to the politics of gender.

Ansel’s new series demonstrate a provocative response to the art of the past. Her approach encompasses an analysis of the Late Renaissance work’s formal composition, color harmonies, and spatial arrangements, which she reinterprets in her own drawings and paintings. Beginning with an exploratory drawing after her source, Ansel then identifies fresh ideas that she uses as a starting point for her work in oil on canvas. As the series of paintings, titled “Revelations,” illustrate, her paintings are fluid, improvisational, and abstract. By repeating the process over several weeks, Ansel becomes deeply familiar with her source painting. She understands the artist’s creative choices and critically reflects on them in her own work.

For Ansel, this profound engagement with work of the past enables her to define her own perspective as a contemporary woman artist. Within the context of a cultural practice that has traditionally been dominated by western, white male artists, Ansel’s creative responses to historic works pose questions of how women artists can establish themselves in that trajectory.

bowdoin-calvaert2Denys Calvaert’s “Annunciation,” ca. 1597

“Through spending significant time with Calvaert’s “Annunciation,” I became increasingly aware of the assumptions about gender roles that infuse this religious painting by a male artist who was steeped in the traditions of a patriarchal society,” said Ansel. “I found myself wondering how this scene would potentially have been interpreted and depicted differently from a woman’s perspective? And my intention with this series is to reclaim what’s beautiful, while reworking—translating into a contemporary lexicon—that which is sexist, classist, and racist.”

The resulting artworks are meant as homage to Calvaert as much as a counterargument.

Elise Ansel’s ongoing consideration of the ethical implications of the western art historical canon attracted the attention of Hanétha Vété-Congolo, Bowdoin College Associate Professor of Romance Languages and Literatures, who initiated and co-organized this exhibition with BCMA curator Joachim Homann. Vété-Congolo proposed the exhibition as part of “Beauty and Ethics,” a Studies in Beauty initiative event, funded by the Andrew W. Mellon Foundation. Vété-Congolo, a poet, writer, and scholar of Caribbean and Francophone literature and literary theory, recognized parallels between Ansel’s process of artistic inquiry and her own investigation of the exchange of diverse perspectives in post-colonial literature.

Vété-Congolo says, “In our current conflict-ridden world, Ansel’s thoughts as manifested by her art production process and concrete body of painting, singularized by unpredictability and life-giving colors, are as relevant as they are revivifying.” And this sentiment is shared by, and indeed compellingly visualized in the work of Elise Ansel, who is undeterred in her appreciation of historic art: “I am positing that these old paintings have something to contribute to us now.”

Fully accessible, the BCMA in Brunswick is located at 9400 College Street is open to the public free of charge from 10 a.m. to 5 p.m. on Tuesday through Saturday; 10 a.m. to 8:30 p.m. on Thursday, and from 1 p.m. to 5 p.m. on Sunday.

Bowdoin College Museum of Art Launches its First Digital Catalogue

Bowdoin“Landcape with Washwoman,” by Jan Frans van Bloemen

The Bowdoin College Museum of Art in Brunswick is pleased to announce the launch of the Museum’s first online scholarly catalogue, Art Treasures, Gracefully Drawn: James Bowdoin III and America’s Earliest Drawing Collection (URL: http://www.bowdoin.edu/art-museum/catalogues/oldmasters/). The catalogue highlights the 141 old master drawings assembled by the founder of Bowdoin College, James Bowdoin III, whose bequest to the College in 1811 established one of the earliest collegiate collections in the country.

The fully-illustrated digital catalogue provides a scholarly introduction to the collection and detailed entries on each of the drawings. The entries may be searched and sorted by title, artist, or nationality. The catalogue delivers five categories of information for each drawing: Marks and Inscriptions, Provenance, Exhibition History, Bibliography, and Commentary, which includes curatorial insights about each work. In addition, each entry is accompanied by a high-resolution reproduction downloadable at no charge, which allows viewers to examine any section of the drawing in vivid detail. Unlike a traditional publication, the online catalogue will be updated continually with new curatorial information.

Art Treasures, Gracefully Drawn: James Bowdoin III and America’s Earliest Drawing Collection was made possible by a grant from the Samuel H. Kress Foundation. This external funding enabled the Museum invite scholar Sarah Cantor, who teaches at the University of Maryland, to the Museum during the summer of 2015. Cantor built on the research conducted by the late David P. Becker, a member of Bowdoin’s Class of 1970, who published his Old Master Drawings at Bowdoin College in 1985. Cantor’s expertise in European old master drawing and in developing and maintaining digital tools for art history made her an ideal collaborator with museum staff, art history faculty, and information technology specialists at Bowdoin College in realizing this project.

“This online catalogue represents an extraordinary interdisciplinary accomplishment, combining many areas of expertise,” observes Anne Collins Goodyear, co-director of the Bowdoin College Museum of Art. “It both highlights and renders more accessible one of the foundational art collections for the museum and the nation, and it also demonstrates the ability of a small institution to create a robust and engaging digital resource which extends the reach of its resources around the globe, inviting new interpretations of its holdings.”

The electronic resource has significance that stretches well beyond the museum. “The BCMA digital Old Master Drawings catalogue demonstrates the great potential of curatorial publishing beyond the confines of print,” notes Crystal Hall, co-director, Digital and Computational Studies Initiative and associate professor of digital humanities at Bowdoin College. “The team has established an impressive critical, bibliographic, and archival resource.”

James Bowdoin’s gift, upon his death in 1811, of 141 drawings, 68 paintings, and 11 prints to the institution he founded in 1794 was groundbreaking, making Bowdoin College only the second educational institution in the country, after Dartmouth, to develop a collegiate collection. While the drawings have long been celebrated by curators and art historians at Bowdoin, and cherished by a small circle of experts, they are less well-known amongst the general public. The online catalogue will give new visibility to James Bowdoin III’s drawing collection and to highlight the important role played by Bowdoin as a pioneering collector of the fine arts in the United States.

Bayview Gallery Owner Says, “Have It Your Way!”

CommissionCommission: “Watchful Eyes, II” by Paul Stone, oil on canvas, 32″ x 43″

Susan Starr, co-owner of Bayview Gallery in Brunswick asks, “Have you ever walked into an art gallery and found a painting that is perfect in nearly every way? The imagery appeals to you, the color palette is perfect for your home, and the “feel” of the painting draws you into the artist’s vision. But, alas, the size just won’t work. Perhaps it’s too small for that space over the sofa, or maybe it’s too large.

Not to worry! You can probably have it your way. Most of our painters will work with you to capture the elements you want in a commissioned painting, made just for you.

I have my clients’ permission to share the story of a recent commission.
Our clients recently moved and were searching for a painting for over their sofa. Sandy fell in love with a Paul Stone painting in our Gallery, but it just wasn’t large enough for her space.

OriginalOriginal painting: “Watchful Eyes” by Paul Stone, oil on canvas, 24″ x 36″

I spoke with Paul and he agreed to create a larger version. Like most artists, Paul will not make an exact reproduction of a painting. But, he captured all the elements important to the client, who likes her commissioned painting even better than the original.”

Bayview Gallery is located at 58 Maine Street in Brunswick. Winter hours are Thursday through Saturday and by appointment. For more information, contact art@bayviewgallery.com or call 800-244-3007.

‘Let Your Fingers Do The Walking’ Thru Bayview Gallery Website

Hays,%20Evensong“Evensong” by William Hays

Do you remember the old Yellow Pages?  Their advertising slogan was, ‘Let your fingers do the walking.’ Well, the Yellow Pages may have gone the way of the rotary phone and the slide rule, but their slogan has never been more meaningful.

Bayview Gallery at 58 Main Street in Brunswick says, “If walking into the Gallery is not convenient for you at this time, then ‘Let your fingers do the walking,’ and click your way through our offerings. Art is always a welcomed gift. I have selected some smaller pieces that would be quite easy for the grateful recipient to place.

Perhaps, now is the time to give yourself a gift? Replace that print over the mantle or fill the empty space above the sofa. If so, visit our website and let me know how we can help.”

Visit the gallery website at http://www.bayviewgallery.com and peruse the offerings of all the talented artists.

Bayview Shows Still Life + Floral Paintings by Gayle Levée

95fec496-f3aa-48dd-b874-a6ffa47f6848“Water” by Gayle Levée, oil on linen, 24″ x 30″

Bayview Gallery in Brunswick is pleased to represent the still life and floral paintings of Gayle Levée. She studied with Boston School master painter, Robert Douglas Hunter (1928-2014). Levée continues the traditions of the Boston School with well-planned compositions, skillful drawing and a focus on light and shadow to create atmosphere in her paintings.

“I had painted with Robert Douglas Hunter, and from him learned the techniques of the Boston School painters,” Levée said. “Later, when I went to New Mexico for a wedding, I was struck by how dry the region is, especially compared to green New England. There were signs in the rest rooms asking people to conserve water when washing their hands. My feet got so dry they bled.”

“I wanted to somehow paint my experience of New Mexico, using a Boston School still life rather than a landscape. I had seen still life paintings in the galleries there — people seemed to think a Western still life had to be about spurs and Navajo blankets. I wanted my painting to be about the precious resource: water.”

“That’s why the water is held in the bottles and containers,” said Levée. “The fruit represents another source of water for the bird. The vine can live only as long as it is in contact with the water.”

To add one of Levée’s paintings (or any painting on the Bayview Gallery website) to your collection, call Cally or Susan at the Gallery (800) 244-3007. Bayview Gallery is located at 58 Maine Street. Visit the website at http://www.bayviewgallery.com/

“Scott Moore Paints the Wild Coast of Maine”

f9263e8d-4fcd-44d6-983a-6a7991d1d990“Black Point, Cutler” by Scott Moore, oil on canvas, 30″ x 40″

“Scott Moore Paints the Wild Coast of Maine” is now on view at Bayview Gallery in Brunswick.

Known as Maine’s Wild Coast or Bold Coast, this extraordinary stretch of coastline, with its stunning views of the North Atlantic, can be accessed via a trail through the Cutler Public Reserve. Despite the allure of the coast and panoramas that rival those of Acadia National Park, Cutler is rather remote and much less visited than coastal areas to its south.

On several occasions, however, intrepid outdoorsman and Maine painter, Scott Moore, made the trek and captured the magnificent beauty of this untamed area.

“I have painted Black Point several times, from different angles, in different seasons, and at different times of day,” said Moore. “The hard edged, faceted jumble of the foreground rocks, combined with atmospheric distance, make for a visually compelling place.  It’s constantly redefined by the shifting light. It is what some artists call a ‘power spot’.” Black Point isn’t easy to get to. It’s way up north in Washington County, near Cutler, and a two mile hike from the paved road. If the day is clear enough, you can see the cliffs of Grand Manan Island (Canada) on the horizon. It is very quiet.”

The gallery is located at 58 Maine Street. Hours are Tuesday through Saturday from 10 a.m. to 5 p.m. or by appointment. For more information, call (800) 244-3007.

Colburn on Plein Air versus Studio Painting

waiting for the tide“Waiting for the Tide” by Robert Colburn, acrylic on panel

Susan Starr, owner of Bayview Gallery in Brunswick, had a recent discussion with long-time colleague, Maine painter, Robert Colburn, which prompted her to ask him to share his perspective on painting outdoors on site (en plein air) as opposed to working in his studio. Here is Colburn’s response in his own words.

“The main difference for me when I paint plein air vs in the studio is the speed required to capture the fleeting moments of being on location versus the luxury of having time to explore ideas about line, color and composition in the studio. With Waiting for the Tide, I was working against quickly moving shadows and rising water.”

“Initially I was attracted to the way the dinghies were resting on the flats and how their shadows were blending in with the shadow being cast by the railing above them. In the bright sun, this intermingling of shadows complimented the angularity of the boats, dock and float and helped to break up the composition in a nice way.”

Colburn continued, “”I had to move quickly though, before I was even half way done, the boats were floating and I had to rely on what I had already put down to guide me through the finishing touches. I enjoy plein air work very much because the evidence of the process – the sense of urgency and movement –  remains visible.  There is not a lot of time for fine tuning so the sense of “being there” is emphasized to a greater degree than in my studio paintings.”

forgotten“Forgotten,” by Robert Colburn, oil on panel

“With a painting like Forgotten, the approach was entirely different. I had it in my mind to create a very atmospheric and lyrical composition that highlighted points of interest but allowed for a certain movement through the piece to the soft, foggy background.”

“Developing the contrast between the solidity and geometry of the barn and boat with the fog and tree-line in the background was a slow process. The painting was more than half way done before I even decided to add the barn to the arrangement. And then I struggled with the proportions for a while in order to strike the right balance between background and foreground.”  “In the end, I was glad for the linear elements the barn gives to the arrangement because it allows the boat, oriented on a diagonal to serve as a literal and figurative bridge between the man-made and natural elements.”

“Experimenting with both kinds of painting is essential for me as an artist to develop all areas of my technique so that I have the memories of both experiences to call upon when trying to realize the next painting,” Colburn concluded.

“Earth Matters: Land as Material + Metaphor in the Arts of Africa”

900George Osodi’s “De Money series” no. 1, Fuji crystal archival print

“Earth Matters: Land as Material and Metaphor in the Arts of Africa” opened at Bowdoin College Museum of Art in Brunswick on October 15. The exhibit will run through March 6, 2016.

The first major pan-African art exhibition in Maine, Earth Matters also represents the first major exhibition to explore how African artists have used their work over the course of two centuries to mediate their relationship with the land upon which they live, work and frame their days. Organized by Karen E. Milbourne, Curator at the National Museum of African Art, Smithsonian Institution, the exhibition brings together approximately 50 exceptional works of art, created by artists from seventeen African nations, from the turn of the 19th century, when the international slave trade became illegal, to the present.

The show uses five thematic sections to demonstrate the different ways in which the earth is interpreted through art: The Material Earth, Power of the Earth, Imagining the Underground, Strategies of the Surface, and Art as Environmental Action. These categories provide vantage points from which to examine the poignant relationships expressed by African artists to the land, whether it be to earth as sacred, medicinal, discoverable, or vulnerable.

The exhibition brings together two centuries of art inspired by both the physical and cultural African landscape. It includes pieces by internationally recognized and emerging contemporary artists from the continent and diaspora who draw on the land for inspiration, such as Sammy Baloji, Christine Dixie, Hassan Echair, Ingrid Mwangi, William Kentridge, George Osodi, Georgia Pappageorge, Jo Ratcliffe, Berni Searle, and Tchif. Historic works comprise a broad range of sculptural and two-dimensional objects that include reliquary guardian figures from Gabon, healing figures from the Republic of the Congo, vessels from Cameroon; masks and personal sumptuary from central and western Africa, and religious and political staffs from across Africa.

“We, each of us, make choices everyday that relate to the land beneath our feet,” said Milbourne. “Where we come from informs who we consider ourselves to be. What we throw out affects what this land of ours will be in the future. These issues are not African; they are global, but looking through the lens of Africa we can all better understand the human relationship to the landscape and its significance to the history of African art.”

“We are proud to bring this important exhibition of African art to Bowdoin College,” remarked Bowdoin College Museum of Art Co-Director, Anne Collins Goodyear. “It provides an important perspective on how artists have negotiated their changing relationship to the land for over two centuries, and provides insight not only into the pan-African histories, but also into concerns familiar to American audiences grappling with how the meaning of the land around us has evolved over time.” Co-Director Frank Goodyear continues: “We are increasingly reminded of the vast reach of our international networks, both physical and virtual. Earth Matters returns our focus to the power of the ground beneath our feet while also demonstrating the political, spiritual, and aesthetic claims it has on the imagination in Africa as well as here in Maine.”

A fully illustrated catalogue by Karen Milbourne, with contributions by George Osodi, whose work appears in the exhibition, and other leading contemporary artists, accompanies the exhibition and is available at the museum shop.

“Earth Matters: Land as Material and Metaphor in the Arts of Africa” is organized by the Smithsonian National Museum of African Art. Major sponsorship for Earth Matters has been provided by the government of the Gabonese Republic. Additional support was provided by the Smithsonian Institution Consortia for Valuing World Cultures and for Understanding the American Experience. At Bowdoin the exhibition is presented through the generosity of the Davis Family Foundation, the Grace L. Barney Residual Trust, the Stevens L. Frost Endowment Fund, and the Elizabeth B. G. Hamlin Fund.’

Fully accessible, the Bowdoin College Museum of Art, located at 9400 College Street, is open to the public free of charge from 10 a.m. to 5 p.m. on Tuesday through Saturday; 10 a.m. to 8:30 p.m. on Thursday, and from 1 p.m. to 5 p.m. on Sunday. Closed Mondays.

Chris Reed at Summer Island Studio for Oct. 9 ArtWalk

Ethereal-Embrace-600x449“Etherial Embrace” by Chris Reed

Chris Reed, a Bowdoin College graduate from Portland, will be joining Summer Island Studio – Gallery of Fine Artisans for the month of October.

Opening Reception and Open House will be held, on Brunswick’s 2nd Friday Artwalk, which is October 9 from 5 to 8 p.m.  Wine, Cheese and Hors doerves will be served.  Any questions call Patti L. Baker at (207) 373-1810.

Reed is a landscape painter in Portland; the natural beauty of this state is a great source of inspiration as he is always seeking new places to explore by foot or water. Chris’s ultimate goal is to be as true as possible to the creative process so that his work will resonate in some particular way for each viewer.  In preparing for each painting, he utilizes plein air studies, photo references, and sketches that evolve into a new environment altogether.

Reed’s technique involves the application of oil washes on canvas and then removing the top layers, exposing a stained, yet illuminated, atmospheric effect. Subsequent glazes are later applied for stronger vibrancy, depth of perspective, and overall color harmony. He is particularly drawn to a warm color palette, contrasting with the cooler tones of the foreground.  It is his hope that his paintings generate a feeling of tranquility, a healing energy

Summer Island Studio in Brunswick is located at 149 Maine Street. Hours are Monday thru Saturday from 9:30 a.m. to 5:30 p.m. and Sunday 10:00 a.m. to 4:00 p.m. For more information, call (207) 373-1810.

Summer Island Studio Hosts Thelander on 2nd Friday

Bluejay1“Bluejay” by Lilliana Thelander

Lilliana Thelander will be joining Summer Island Studio – Gallery of Fine Artisans in Brunswick for the month of September.  An Artist Reception and opening will be held Friday, September 11, Brunswick’s 2nd Friday Artwalk; wine, cheese and hors d’oerves will be served from 5 p.m. to 8 p.m.

Thelander, originally from Venezuela, moved to mid coast Maine with her husband and children in 2006. She was first introduced to art by creating stained glass; she was fascinated with the way the light came through, making the colors radiant, like a prism. She is drawn to subjects she paints by the same luminous quality of light and hue. Thelander loves to closely examine and is fascinated with marbles, bottles, eyes, glass, and objects that are part of our everyday living.

Working with oils allows her to render subjects in vivid colors by applying layers of glazes creating the illusion of depth. Thelander’s detailed renditions invite the viewer in for a closer look; her intent with her paintings is to go beyond realism, bringing life and vibrancy to everyday objects and snapshots in time.

If you have any questions, call Patti at (207) 373-1810. The gallery is located at Tontine Mall, 149 Maine St, Brunswick.

Gamache Artist Reception during Brunswick’s Artwalk

Blueberry Barren 3“Blueberry Barren” by Claudette Gamache

Claudette Gamache a Pastelist from Phippsburg will be showing the month of August at Summer Island Studio – Gallery of Fine Artisans 149 Maine Street in the Tontine Mall, Brunswick.. An Artist Reception and Brunswick’s 2nd Friday Artwalk is on Friday, August 14 from 5 to 8 p.m. Wine, cheese, and hors d’oerves will be served. For information, please call Patti Baker at (207) 373-1810.

Gamache’s background includes working in hospitals, nursing homes, visiting nurse agencies and hospice as an RN. She has painted since the age of nine and even though her high school teacher encouraged her to go to art school, her father would only support her to become a nurse.

Because of Gamache’s background, she wanted to capture the essence of nature where she believes it can be a healing experience for both herself, the painter, and to the viewer. As she continues her creative journey, she is interested in those special moments that Claudette captures that creates a joy and an emotional response to the natural world which, when we take the time to SEE, is all around us.

Gamache is a signature member of the Pastel Society of America, Pastel Painters of Maine. and the CT Pastel Society. She is one of the Master Circle members of the International Association of Pastel Societies. She has her BFA from the University of Hartford and MA from Lesley University.

2nd Friday Brunswick ArtWalk Reception

FullSizeRender-rayfield“Squirrel Point Light” by Susan Rayfield Wood

Susan Rayfield Wood will be returning to Summer Island Studio – Gallery of Fine Artisans for the month of July, located in the heart of downtown Brunswick at the Tontine Mall.  An Artist Reception will be held Friday, July 10 during Brunswick’s 2nd Friday Artwalk from 5 to 8 p.m. Wine, cheese, and hors d’oeuvres will be served.

Through Wood’s Squirrel Point Light in Phippsburg; you take a mile hike through the woods to discover the deserted station houses but it is worth the trip. The first sight you see is the startling ruby wreath of foliage and the deafening quiet – just Wood and the soft “chip” tones of sparrows all day.  She tries to capture that timeless sense of peace.

For more information about the Artist Reception, call Patti Baker at (207) 373-1810 and details about specific happens during the July 10 ArtWalk visit http://brunswickdowntown.org/downtown-brunswick-events-all/2015-07-10/

Bowdoin College Museum of Art to open “Night Vision”

Delaney-Untitled-bowdoin2Beauford Delaney’s “Untitled (Jazz Club)”, ca. 1950, oil on canvas

Bowdoin College Museum of Art is opening a new exhibit on Saturday, June 27 called “Night Vision: Nocturnes in American Art, 1860-1960.” This is the first major museum survey dedicated to scenes of night in American art from 1860 to 1960, from the introduction of electricity to the dawn of the Space Age. The exhibition proposes the central importance of nocturnal images in the development of modern art. There will be 90 works in a range of media—including paintings, prints, drawings, photographs, and sculptures—created by such leading American artists as Ansel Adams, Charles Burchfield, Winslow Homer, Lee Krasner, Georgia O’Keeffe, Albert Ryder, John Sloan, Edward Steichen, and Andrew Wyeth, among others.

“Night Vision” demonstrates the popularity of the theme with American artists of diverse aesthetic convictions and investigates how they responded to the unique challenges of picturing the night.

The show runs through Sunday, Oct. 18. Bowdoin College Museum of Art is located at 9400 College St, Brunswick. To learn more, check out the museum website http://www.bowdoin.edu/art-museum/

“In the Woods” opens at Summer Island Studio

summer island
“Gossip” by Lee Cheever

Lee Cheever, a local artist from Harpswell will be showing the month of May at Summer Island Studio Gallery of Fine Artisans located in the Tontine Mall in Brunswick.  The show is called “In the Woods” and an Artist Reception will be held Friday, May 8 from 5pm to 7pm. Wine, cheese and Hors’doerves will be served; any questions please call Patti Baker at 373-1810. Cheever’s exhibit will focus on wood expression for both wall and free standing sculpture. She is a multifaceted artist who taught in public schools for years and now she has a studio in Brunswick and is active volunteering in the creative community. She spots stories everywhere. It may be the stories of history one encounters in traveling, or a chance encounter with an animal in the woods. The world has stories to tell. This translates into her work in suggesting an encounter. What the viewer takes from the piece is personal and varied.

New Paintings and First Show of the Season at Bayview Gallery

"After the Rain" by Barbara Applegate

“After the Rain” by Barbara Applegate

Bayview Gallery in Brunswick is thinking Spring!

Though the ground is still snow-covered and we face the likelihood of another storm this evening, we have turned our focus toward the season of rebirth. With this welcome shift, we are delighted to announce an upcoming exhibit and to share several paintings with you that have recently arrived at the gallery.

We are excited to announce our first exhibit of the season, “Local Color 2015″. Running from April 1 to May 2, this show features four local artists painting the mid-coast.

A reception with the artists will be held Friday, April 10th from 5 to 7 p.m. For more information visit Bayview Gallery at 58 Maine Street in Brunswick, email art@bayviewgallery.com or call (207) 729-5500.

Barbara Bean opens at Summer Island Studio

Barbara Bean at Summer Island Studio

“Studio Cyclamen” by Barbara Bean

Local Artist, Barbara Bean will be showing at Summer Island Studio – Gallery of Fine Artisans for the month of April 2015. Artist Reception and Open House will be Saturday, April 25th from 4 p.m. to 6 p.m. Wine, cheese and hors-d’oeuvre will be served.

Barbara Bean has always been what she calls an art maker; she is inspired by the work of others and enjoys trying new materials. This show is combination of her sculptural assemblages created from found objects and her two dimensional works of mixed media on paper, both in a floral theme.

Bean’s work is more symbolic than representational and asks her viewers to enjoy the experience of entering a new world where there are no boundaries and no limit to what one can make with so little.

Notable News from Bayview Gallery Artists

Bayview Gallery in Brunswick is delighted to share the achievements of their artists.

Tom Hughes

“Monhegan Landing, 3 Below” by Tom Hughes

Tom Hughes painting “Monhegan Landing, 3 Below” appears on the pages of Fine Art Connoisseur magazine. He says, “The current issue has a cover story on contemporary realist collectors, and one of them… chose one of my pictures to illustrate the portion of the article that is about him”. And why not? Tom is one of the very best realist painters working in the country today.

American Society of Marine Artists fellow, Loretta Krupinski, will also have a shot at a cover – her painting, “View from the Second Tower, Matinicus Rock Lighthouse, c. 1901,” was acquired by L.L. Bean for use on a future catalog!

Both Scott Moore and Barbara Applegate have the honor of having their paintings on display in Maine’s Capitol. Curated by the Maine Arts Commission, Applegate’s show Art in the Capitol is on view through March 2nd, while Moore’s paintings will be on display in the State House offices of Maine Senate President Mike Thibodeau.

The U.S. Ambassador in Greece is enjoying Suzanne Harden’s painting “Approaching Cundy’s Harbor,” which is part of the Art in Embassies program there for the next few years.

"Approaching Cundy's Harbor" by Suzanne Harden

“Approaching Cundy’s Harbor” by Suzanne Harden

Marieluise Hutchinson took second place at the Cape Cod Art Association winter show with her painting, “Connections,” and she will be included in the upcoming book release Legendary Locals of Yarmouth (MA) by John A. Basile.

The Salmagundi Club in New York City has juried two paintings by Sergio Roffo into their Winter Landscape Show.

Another Salmagundi Club honoree is Gayle Levee whose gorgeous still life painting, “Raku,” was on exhibit there recently and will go on to be shown at the Hudson Valley Art Association. In addition her painting, “Summer’s Finale,” was accepted into the Plein Air Salon and her piece, “Sweet Water,” was awarded Best Water Painting by Plein Air Magazine.

Jerry Rose conducted a successful workshop on Prouts Neck in Scarborough, Maine next to the Winslow Homer Studio and mentioned his upcoming workshop at The WoodenBoat School this summer in Brooklin, Maine July 26th to August 1.

If the L.L. Bean Spring Catalog hasn’t hit your mailbox yet, keep an eye out for Wendy Newcomb’s painting “Peaceful Journey” gracing its cover! Her bold colors and crisp handling draw your eye right to them.

Wendy Newcomb at Bayview Gallery

“Peaceful Journey” by Wendy Newcomb