Monday, April 7 2014
In celebration of the relaunching of the last surviving wooden whaleship, Lyman Allyn presents Greasy Luck! The Whaling World of the Charles W. Morgan.
The exhibition, which runs from September 21 through June 8, 2014, will look at how whaling—its myths and reality, risk and reward—left its mark on Connecticut and American identity.
In the 1800s, friends and family gathered on the docks to wish “greasy luck” for a successful voyage to departing whaleships.
To most people, whales were mysterious creatures. Yet whaling was big business.
The thousands of barrels of oil the whalers brought home made ports like New London and Mystic some of the wealthiest places in the young nation, supporting a wide array of dockside occupations.
Machines, gadgets and all things technology inspire the artwork at a new exhibit at the Maritime Garage Gallery. “Thingamabob” features art that is in the eye of the mechanically inclined in a group show of artists, including John Jackson of Jefferson, New York, Tom Hlas of Norfolk, CT, Lewis Schaffer from Ridgefield, Deborah Rauh from Westport, Sara Roche from Weston, and others.
The Maritime Garage Gallery, located at 11 North Water Street, is part of the Norwalk Parking Authority’s “Art in Parking Places” initiative, an effort to support art in public spaces making Norwalk a more vibrant destination. The gallery is free and open to the public from 9:00 a.m.-5:00 p.m. Monday through Friday.
In the multi dimensional installation “Silent Faces/Angkor,” Mary Heebner knits together imagery and writing to create an elemental, spiritual, and involving interpretation of the myths of the ancient Angkor temple complex that plays on the links she has found between human and geographic forms. Ms. Heebner often turns to myth to broaden her understanding of the bonds between humans and the earth. When she went to Cambodia's Angkor temple complex in 2000 and 2001, she began a series she called “geography of a face” to further her exploration of the connection between human and geographic form. Through both drawing and photography she engaged Angkor Wat's 12th-century frieze, the “Churning of the Sea of Milk,” and the other sculptural works there. While humans have always carved likenesses in stone, those figures just as surely erode and return to the earth. The ancient myth she studied and the eroded faces she read as maps shaped her path to creation of the books, scroll paintings, drawings and texts that make up this striking and profound installation. Ms. Heebner is an internationally known painter, book artist, writer, publisher, and installation artist with works in public and private institutions including the Library of Congress, the National Gallery of Art, The British Library, the New York Public Library, The J. P. Getty Research Library, Dartmouth College, the University of California, and Stanford University.
The Kehler Liddell Gallery is pleased to present “Silent Poem, Spoken Light” with work by Maureen M. Squires and Sarah Beth Goncarova, on view March 20 - April 20, 2014. An Opening Reception will be held on Sunday, March 23, 3:00 - 6:00pm. On April 5 from 3:00 - 5:00pm, there will be a poetry reading and artist-led discussion with poet Judith Vollmer, Professor of English, University of Pittsburgh at Greensburg, featuring poems from her newest work The Water Books. Both events are free and open to the public.
The exhibition “Silent Poem, Spoken Light,” explores one of the most integral yet continuously perplexing questions of the art-making practice; how does one create work that is highly communicative yet largely unspoken? Artists Maureen M. Squires and Sarah Beth Goncarova examine this concept through calligraphy, poetry, painting and installation. Through using vastly different media, both artists look to natural forms as metaphor and message, drawing parallels between inner and outer landscapes.
Painter and calligrapher Maureen M. Squires interprets the words of writers and poets through paint and ink. Through the use of color, illustration, illumination, alphabet and gesture, she both abstracts and clarifies the meaning of the words. Movement and gesture are key components of Squires’ practice, making work that is at the same time bold and subtle, beautiful and evocative.
Like Squires’ luscious calligraphic works, the installations of Sarah Beth Goncarova tease metaphor from imagery of the natural world. Using intricate combinations of sewing and circuitry, Goncarova creates otherworldly illusions of seemingly natural phenomena. The fragile branches of her piece The Cherry Tree beckon the viewer in—Goncarova’s own invitation to the viewer to become part of the work itself. Only when the viewer enters the tree crown does the tree surprisingly awaken. In her piece The Web, women quietly weave at an ancient loom, creating a magnificent web out of spider silk and dew drops. In both pieces, we are drawn into another world, that entirely of Goncarova’s own making.
Squires’ background in Fine Arts began formally at Seton Hill University, where she majored in painting and where she first studied calligraphy. This took her to Carnegie Mellon University where she studied Advanced Calligraphy for two years with noted calligrapher and type-designer Arnold Bank. Over the years, Squires has studied with many notable lettering artists, but studying with Bank was a turning point in her approach to the alphabet and painting. Since then, Squires’ work has become an exploration of letters and words through paint, interpreting the words of favorite poets with abstract forms and graceful brushwork. Her tools range from traditional steel nibs, to brushes to reeds to bamboo. Her preferred media are ink, gouache, Japanese watercolors and acrylics.
Goncarova earned degrees in sculpture and architecture at Virginia Commonwealth University and University of Maryland, and has worked for the theater as costumer, puppetmaker and scenic designer. Her art practice has evolved to include such varied media as painting, textiles, light, dance, sound and animatronics. To date she is a finalist for the 2014 Guggenheim Fellowship for installation/performance.
Squires and Goncarova offer visually and conceptually compelling work in “Silent Poem, Spoken Light,” rewarding the curious and even quickening the pulse.
Kehler Liddell Gallery is located at 873 Whalley Avenue in New Haven, Connecticut. Gallery hours are Thursday through Friday from 11:00am - 4:00pm: Saturday and Sunday from 10:00am - 4:00pm.
Join us for Bobby's colorful impressions, opinions, and memories from all of baseball: high school, college and professional; managerial and media! Drop in.
For more information about Trumbull ‘s One Book One Town book selection and event schedule visit here.
Reception on Tuesday, April 8th, 6:00-7:30 pm
Mari Skarp-Bogli’s “Architecture of a Memory” addresses the subject of memory and its operation within the human brain. Her paintings, sculpture and interactive drawings employ abandoned locations, discarded materials and objects that transmit associations of loss, abandon and decay. These works are assemblages of memory evoking relics of attics, basements, barns and the garages of home in as much as representations of the physiological, psychological and neurological functions they interpret.
Skarp-Bogli earned her M.F.A. from Maine College of Art and B.F.A.’s in both painting and sculpture from the University of Hartford. She is an adjunct art instructor at Tunxis Community College and at the University of Hartford. See more of her work at www.mariskarp.com.
Pegasus Gallery is located within the library on the first floor of Chapman Hall
Hours: Monday - Thursday 9am-8pm, Friday 9am-4pm & Saturday 10am-4pm, when classes are in session.
For more information please contact:
Matthew Weber, Art Curator