Images from top to bottom: Ambuja Magaji, Nancy E. Wyllie, image still by Kavita Singh, Kale.
Wednesday, December 1, 2010
Images from top to bottom: Ambuja Magaji, Nancy E. Wyllie, image still by Kavita Singh, Kale.
Wednesday, November 24, 2010
Susan Sklarek received an MFA in Sculpture from the Rhode Island School of Design in 1978. Since 1980, she has been teaching weaving and textile courses at RISD at both beginning and advanced levels, including the use of 8-harness floor looms as well as 24-harness computer-interfaced dobby looms, training her students as both artists and designers. She worked for 8 years as the in-house designer for Stanley Woolen Mills, which produced fancy woolen fabrics for mens and women's apparel. Other freelance projects include working with the Josef & Anni Albers Foundation on the analysis and reproduction of Anni Albers' woven fabrics. In addition to design for industrial and hand production, her own work has also included woven illustrations for print, and 2- and 3-dimensional fine art pieces for exhibition. Her frequent travels to Japan have led to an extensiv collection and knowledge of Japanese textiles. Susan has also recently traveled to CEDIM Design Institute in Monterrey, Mexico, and to Duksung Women’s University in Seoul, Korea, to teach and lecture as a Visiting Professor.
Thursday, November 18, 2010
Wednesday, November 10, 2010
Wednesday, October 27, 2010
Friday, October 22, 2010
Wednesday, October 20, 2010
Dear Friends and Colleagues,
There is an art project I want to undertake called Portrait of the Artist as an Old Man. It is an exploration of aging and creativity, consisting of 25 portraits and written profiles of artists over 65.
In order to do this project the way I’d like to, I have to generate some funding. I have a couple of grant applications out, but I am also trying to raise $5,000 through Kickstarter.com. Kickstarter allows artists to post projects and then people who want to support the project can make donations as small as one dollar. It is also a way of spreading word about the project and getting feedback. However, it is an all or nothing proposition. Having set my goal at $5,000, if I don’t reach it the project is cancelled and no money is collected. I have 30 days to do this.
10 X 10 X 10 X 10
I am sending this to you because I think of you as someone who has a large network of connections who might be interested in at least being aware of this project. Here are my requests to you and your friends:
· Visit my Kickstarter project,
· Read about what I want to do and give me feedback. Also watch the video and check out the updates section for examples of my portrait work,
· Make a pledge,
· Send this email on to ten friends and put in a good word for the project.
Portraiture and self-portraiture have always been a major focus of my art making.
I love the challenge of creating an image that achieves a physical likeness, has psychological resonance, and is visually exciting. In my best portraits, the viewer knows what the person looks like, but also what he is like.
For the past several years I have been exploring how a group of individual portraits can coalesce to form a portrait of a community.
In 2005, when I was a Peace Corps volunteer in Honduras, I started to do a series of portraits which, taken together, constituted a portrait of a community. I painted approximately twenty portraits of friends and neighbors.
When I returned to my home in southern Rhode Island in 2007, I was approached by the Alternative Food Co-op to contribute artwork to decorate their store on Main Street in Wakefield. I proposed doing a series of portraits of the community of the Co-op: customers and their children, employees, and board members. I executed approximately twenty portraits of people along with their favorite Co-op product.
In 2008, I successfully applied to Rhode Island State Council on the arts for funding for a project called “Ten Most Wanted.” The idea was to turn the FBI’s ten most wanted list on its head and instead of portraying people who were destructive to the community to create images of people who made the community a better place. In addition to painting the ten portraits, I also interviewed each subject about their community service and wrote a profile of them. This work was exhibited through Hera Gallery and was published in South County Living Magazine.
Now I wanted to undertake a series of portraits drawn from the community of older working artists, not a geographical community, but a community of shared experience. I see this undertaking as a way of exploring the relationship between aging and creativity.
October 30- November 20
The Printmakers Network of Southern New England PNSNE, Travel Book Project is a three-book accordion collection of original prints and poetry created by fifteen members and three award winning poets. “Travel+” began as a concept to join artists and poets to select a subject over a period of time with creative results fused into a book collection in an edition of 30.
The opening reception will be Sunday, October 31st, 2-4 pm. Other events will follow at the museum at 2 pm on Sunday, November 7, a “Poetry Reading” with three nationally published poets, Vivian Shipley, Kim Bradford and Sue Standing; Sunday, November 14, a Gallery Talk with Carol Strause FitzSimonds on “21st Century Technology in Printmaking-Solar Plate” and on Saturday, November 20, a Panel program on “Collaboration-PNSNE, the Travel Book Project”. The PNSNE was established in 1992 for printmakers to share common goals. The participating artists for the exhibit, “Travel +” are: Shirley Bernstein, Grace Bentley-Scheck, Joan Cole, Rhea Nowak, Melody Knight Leary, Barbara Pagh, Carmela Venti Rashen, Margot Rocklen, Jo Yarrington,Victoria Jutras Kniering and Yuemei Zhang.
**Museum Hours, Tuesday-Sunday, 1-4 PM
Thursday, October 14, 2010
This uncannily talented painter is a phenom with texture and color, but refers to these characteristics in an 8-year-oldish way... while talking about 'mixing fast' and dumping watery paint on her canvases to achieve her paintings she reminded me of a little girl playing princess twirling and posing in front of the cameras.
The most impressive thing that struck me was that she takes weeks to work on her paintings, this dedication to time is unusual for someone so young. Below are some images of her work, otherwise be sure to click the link above to watch her interview with Matt Lauer!
Wednesday, October 13, 2010
|Judy Chicago's "Dinner Party"|
|Close up of "Dinner Party|
Friday, October 8, 2010
|Painting the stands!|
So while the walls were white, bare and ready to get done up with work - I was learning how to hang the art at eye level. Not exactly the best with math, measuring sixty inches up on the wall, while subtracting half of the total of the frame size, and taking into account the wire hanger, was just a bit of a mind boggle for a few minutes. However, once a rhythm and groove began with measuring, marking and hanging - the pieces just seem to go up quickly and the room was coming alive. After day one, more than half of the show was up.
|A work in progress!|
Day two was a bit calmer. Once I got to the gallery, all of the pieces were up. The next tedious task was typing up labels for each work and a price list for the work. Although it was time consuming, it needed to be done. I left Hera after day two feeling confident that the opening reception for the show this Saturday, October 9th, from 6-8pm would be something that everyone will enjoy. I highly suggest attending and enjoy the hard work that has gone into creating this show!
Friday, October 1, 2010
Review: '10 Most Endangered Properties,' plus 'Chromophilia'
The title of the "Chromophilia" exhibit at Craftland (235 Westminster Street, Providence, through October 10) focuses our attention on the bright colors of contemporary studio jewelry, which follows the 1980s revival — a la American Apparel — throughout fashion. But the bigger trend that curators Devienna Anggraini and Islay Taylor identify is a Post-Modern, catholic use of a wide variety of non-precious materials.
Mike & Maaike, a San Francisco studio led by Mike Simonian and Maaike Evers, fashion flat leather necklaces and broaches based on pixilated photos of famous jewelry (Daisy Fellowe's "Tutti Frutti" necklace, Imelda Marcos's ruby necklace, the Hope Diamond) found via Google image searches. Mariana Acosta Contreras of Providence strings folded leather into scarf-like necklaces resembling strands of flowers or shelf mushrooms. They often have a neutral main color (gray, white) with bright hues (reds, greens) flaring from inside folds.
Islay Taylor of Providence crochets webs of thread to hold cascading strands of orange and red beads. San Francisco's Emiko Oye turns Legos into bright, blocky, fun bracelets. One cheekily puns on Mondrian's blocky early 20th-century abstractions. RISD-trained Jimin Park's broaches look as if she's fashioned bits of metal and fluorescent plastic junk she picked up off the street into Post-Modern tribal talismans. Oye and Park's work highlights a distinguishing characteristic of this jewelry: a spirit of play.
Friday, September 24, 2010
It's at the R BAR NYC
218 Bowery (between Prince and Spring)
New York, NY10012
On September 25 - 26, 2010 from 11 am to 5 pm more than 80 artists in the historic mills of Pawtucket, Rhode Island, are opening their studios to the public during the city's celebration of the arts, the Twelfth Annual Pawtucket Arts Festival.
Wednesday, September 22, 2010
Michael is also a carpenter, and has spent much time in his life working on his own home. Considering his attention to detail, craftsmanship, and in-depth knowledge of carpentry and construction, we are elated that Michaels' membership is a sweat equity one. It will be nice to have a capable and informed member to help with some of the projects that we have planned for Hera.
Be sure to keep an eye on the Hera Gallery homepage for more information about Michael Yefko.
Images from top to bottom: Barn Razing, from Housing Collapse Series, integral frame, wood, paint, collage, 2010; House For Bachelard, photo on wall, mixed media sculpture, 2010; Suburbia, mixed media sculpture, 2004; Subplot, mixed media sculpture, 2005.
This collaborative project showing approximately 20 books with 900 pages covered in drawings, writings and collages initiated by artist and former Community College of Rhode Island student Joanne Luongo, will be on display from Sept. 14 to Oct. 14.
Luongo said her art “relies heavily on the engagement of various community groups and each one is different and quite unique. Of all my shared experiences, however, I believe the most fulfilling is the book exchange that I began in May of 2009 with an artist from Romania.”
Friday, September 17, 2010
September 3 – October 14, 2010
Corridor Gallery, Fine Arts Center, URI
This selection of color photographs is from the ongoing series Altered Landscapes with work dating from 2007 to the present.
As a photographer of the landscape Broches explores our culture’s view of nature and the ways in which we occupy and alter our world. She writes:
“The landscape as subject is traditionally viewed as picturesque. I approach and photograph the landscape as human construct. We ‘landscape’ and beautify our surroundings, preserve and protect our parks. We intervene and mold it, exploit and attempt to control and harness it, defy it, and neglect it. I value a sense of place, collective and individual memory, and identity in relation to the land. I’m interested in the domestic, private, and the ‘small’. My photographs document and report on ‘our’ sense of place. These images are amusing, ironic, and puzzling; some imply social and political consequences that are of immediate, if not critical, importance. The motivation for my work does not come from a desire to be an activist. I photograph and make art to make sense of my world and to give form to that sense. It is a process and search for understanding.”
Recently, Susan has been working with photography as well as creating incredibly intricate beaded jewelry. No matter what media she works in, her attention to detail is exquisite.
Look for more information about her on our home page, as well as in the next exhibit at Hera featuring our Associate Members.
Wednesday, September 15, 2010
Saturday, September 11, 2010
|Myself at the Atlantic-10 Rowing|
|One of my drawings from high school|
Friday, September 10, 2010
VIEWPORT is sponsored by Project One/Public Art Newport. The exhibition opens September 11 and runs through October 10, 2010. Ten local artists were selected to participate in this event.
Please join us for the opening reception from 1 - 6 PM tomorrow.
Thursday, September 9, 2010
The images below are from her 'The Suspense of Reanimation' series, which illustrates the specific moment in a fairy tale when the protagonist is hovering in a space framed by 'the metaphoric death of an inadequate self and rebirth to a higher plane of existence (Bruno Bettleheim).' She uses a rabbit corpse to portray these moments, making her metaphors more accessible to the viewer.
The images below are from her series 'A Decadent World,' which blends the realm of culture an nature together into a decadent confection. Mara uses cake decorating techniques to construct miniature aristocratic moments, again featuring animals as opposed to human forms, embracing opulence, abundance, and sophistication. This series narrates the multifaceted and precarious relationship that humanity has created with (nature) animals for our pleasure and use.
Friday, September 3, 2010
You may recognize Michael's name from the previous show at Hera, MONEY. Michael exhibited a series of exquisite sculptures that focused on issues in our contemporary fiscal culture.
Wednesday, September 1, 2010
I took a trip up to Boston yesterday morning to visit the Dr. Lakra exhibit at the ICA. The show is only up for another week, and I'm disappointed that I didn't get in to see it sooner because I'd like to experience it again. As it turns out, I'm really taken with Dr. Lakra's work.
Dr. Lakra is a Mexican born tattoo and fine artist based out of Oaxaca. Dr. Lakra transposes his tattooing craft onto the idealized figures found in vintage 1950's magazines, onto pinup girls, luchadors, medical educational drawings, and even onto the iconic cupie doll. Lakra reassigns identity by tattooing and enhancing the original subjects with bats, demons, spiders, gang insignia, and traditional cultural body markings. He even uses a real tattoo machine to achieve a believable image on some of his pieces.
Dr. Lakra deals with concepts of beautification and social identification. His works are a carnival of the grotesque, a medley of kitschy erotica, ancient ritual, and hallucinogenic visions fused in a collage of ideologies.
This show was a slightly unbalanced combination of 2D and 3D work, with most of the emphasis being on drawings and installations. I would have personally preferred to see some more objects included in the exhibition, as those objects reflected his working process more directly.