July/August 2023 Print Issue and Tablet Edition Now Available! | |
Matthew Casanovas, Reverie, 2022, oil on canvas, 16” x 12” x 3”. At Attleboro Arts Museum. | |
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Left: Black Windflower I (original), 2022, black glazed stoneware, 11 3⁄4” x 8” x 8”.
Right: Womb (Cell Persona), 8 1⁄2” x 7 1⁄2” x 6”. At Lucy Lacoste Gallery.
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John Singer Sargent, Muddy Alligators, 1917, watercolor over graphite, with masking out and scraping, on wove paper. Sustaining Membership Fund. At Worcester Art Museum. | |
"Sargent is also a brilliant painter, if more romantic in nature. His famous “Muddy Alligators,” 1917, is a tour de force of watercolor technique. Four alligators lie sunning in a muddy Florida backwater, the brilliant sun glancing off their spiky white hides. Sargent did several pencil sketches of alligators to familiarize himself with their shapes, and these freshly drawn works are fortunately preserved and on view. “Alligators” is an intriguing painting for its unusual and direct depiction of wildlife. Sargent was so confident that the foreground ‘gators would command our gaze that his trees in the upper quarter of the painting are merely vertical lines with no attention to detail nor texture. It doesn’t matter, the painting is brilliant. But not 'lonely.'" | |
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Above: Ernst Ludwig Kirchner, Seated Woman, 1909–1910, gouache on cream wove paper. Gift of Kate Butler Peterson.
Left: Childe Hassam, Yonkers from the Palisades, 1916, watercolor over graphite on medium, slightly textured cream wove paper. Museum Purchase.
Both at Worcester Art Museum.
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"Another work that is more of a drawing than a watercolor is “Head of a Woman,” 1915, by the Italian artist Amedeo Modigliani. He used India ink to outline the head in his famous blind-eyed style. American, Childe Hassam employed an innovative technique for the color of the Hudson River water in “Yonkers from the Palisades,” 1916. He applied the wet color and then sponged it off. I like this painting because I lived in Yonkers for ten happy years."
-Beth Neville
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Lily Morgan, Where Did the Dinosaurs Go? At The Norwalk Art Space. | |
George Xiong, Summer, 2023, 38” x 38”, at Tao Water Gallery. At Tao Water Art Gallery. | |  |
David Cohen, Rendezvous. At Copley Society of Art. | |
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"Advocacy requires specific skills including organizing, public speaking, writing/messaging, marketing/public relations, government relations, project management, event producing and fundraising. Through our experiences, we’ve seen the strongest arts advocacy is when artists come together and join with behind the scenes folks to create and execute a campaign. Often, advocating for creative space might be the first time
some folks have ever advocated. There’s a lot to learn, a lot of strategy involved, and it takes a village. For real."
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Above: Musicians and coalition at 290 North Beacon Street Brighton. Courtesy #ARTSTAYSHERE Coalition.
Below: ARTWORKSHERE, Exhibition 6. Photo by Franklin Marval.
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"Advocacy is usually group work. Group work is often messy. Messy is not for everyone. When volunteering, we usually see a variety of people: different ages, from different cultures, with different reasons for volunteering as well as different skill sets. Folks don’t always have similar ideas, or similar hours available to do group work effectively.
'Only about half a dozen artists participated in our campaign,' said Killian. 'Some didn’t want to go against the owner, but there was also a fair amount of apathy to contend with.'
At #ARTSTAYSHERE, we’ve worked with eight artist/musician communities at risk over the last three years. In each, only a handful of creatives step up to participate. Advocacy can be done with a handful, but the more, the better. Ultimately, advocacy is standing up for a cause, and getting others to support it. The more that stand up, the more will likely support it, thus affecting change."
-Ami Bennitt (co-founder of the #ARTSTAYSHERE Coalition)
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Gabrielle Raskin, Keep the Home Fires Burning, 2023, oil on canvas, 48” x 60” x 1 3/4”. At Attleboro Arts Museum. | |
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It’s summer in New England and Artscope’s July/August 2023 issue is focused on nature and its interactions with art.
On the road, Artscope’s writers find outdoor sculptures, along with watercolors by a slew of masters at WAM. Summer group shows dominate inland, while the seashore begins to sizzle with a slightly antic wanderlust from our Cape correspondent.
Also find a new home for Indigenous art in Shelburne, plants as sculpture at the Isabella Stewart Gardner, an unexpected creative hub in Norwalk, Connecticut, poetry in Maine, ceramics as social commentary and an infamous, ever-growing red dress that’s crossed continents. Art advocacy features heavily, as Ami Bennitt bookends her ongoing series on the uprooting of local artists communities with a “how to” in keeping these organizations operational and where they are.
We here at Artscope are celebrating the beautiful weather and the plethora of gripping, thought-provoking art in our region. Grab a copy today and enjoy what New England’s resilient art community has to offer this summer.
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Tiara Trent, Breath. At The Norwalk Art Space.
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Happy reading!
Be safe & well,
The Artscope Team
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