Archive for Bangor

Sohns Gallery Solo Exhibit “Oh You Pretty Things” by Kat Johnson

 

The Sohns Gallery at The Rock & Art Shop in Bangor announces a solo exhibition by local artist Kat Johnson, Oh You Pretty Things. The exhibit runs March 4 – April 28, with an opening reception Friday, March 8 at 6:30 pm. The artist will be on site to give remarks at 7:30. This event is free and open to the public.

Oh You Pretty Things will include all new works created in the past six months. The exhibition will showcase eight new large relief prints. These framed works will be for sale along with the unframed prints in the edition and other smaller prints of various subjects. The artist will be donating a portion of all sales made during the duration of the show to Mabel Wadsworth Center.

Johnson has lived and worked in Bangor for over fifteen years and this is her fourth solo show in the area and second at the Sohns Gallery. Johnson works as the Senior Museum Educator and Marketing Manager at the University of Maine Museum of Art in Downtown Bangor. She received her Masters of Fine Art in Intermedia in 2012 from the University of Maine and has been an active member of the creative community since her arrival in Maine in 2003.

This is the second exhibition of Johnson’s work at the Sohns Gallery. The first showing was a large scale evolving painting which was the inaugural show in the gallery. Having focused on painting for many years, Johnson has now turned to printmaking to create her images. Regarding this shift Johnson stated, “I’ve always painted large, flat areas of color with bold line work, very much in the style of a screen print or relief print. I thought it was time I finally made that leap to fully delve into the process of printmaking.”

UMaine Museum of Art announces Winter Exhibitions

 The University of Maine Museum of Art, located at 40 Harlow Street in downtown Bangor, opens three new exhibitions in January. UMMA is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region, presenting approximately 12 original exhibitions each year. UMMA’s winter shows open to the public on January 18 and runs through May 4, 2019. Admission to the Museum of Art is free in 2019 thanks to the generosity of Deighan Wealth Advisors.

REVERSIBLE ROLES: MEGHAN BRADY

Meghan Brady, Blue + Gold Gardenhead 2018, oil on canvas

Meghan Brady’s large-scale paintings and collages are brought to life through intense color saturation and dynamic, abstract forms. The compositions are vibrantly structured with unadulterated blues, intense yellows, and oranges. The focal point of the exhibition is a work titled Everyday that spans over 16 feet and explores shape and form on a grand scale. The artist states, “The container form—human or otherwise—is a jumping off point to do what I want to do, which is to construct, deconstruct, and hopefully land somewhere totally unexpected.” Brady also layers bold colors, such as acidic green over deep blue, as a means of creating unique shapes in her compelling compositions. The use of saturated color and powerful gestural marks articulate Brady’s exploration of energetic geometric forms and how they relate to each other.

The selected works of Reversible Roles involve both the concept of representation and abstraction and explore how the negative spaces—the spaces created between and around color—can become the focal point of the piece. Brady explains, “Negative shapes are the by-product of cutting shapes from canvas and these shapes transform from negative to positive in the course of one quick decision.” These works are the culmination of Brady’s practice of working with diverse media, including ceramics, woodcut, collage, and oil paint as a means of expanding her creative praxis and extending her process. Brady adds, “Reversible Roles is about the possibility of upending expectations by swapping places. Or in the case of painting, turning them upside down, placing them on the floor, or cutting them in half.” Producing works of this size is a challenging endeavor. The physicality of this process is like a dance between artist and canvas and this corporeality infuses the paintings with energy, spirit, and life.

BIG ROCK CANDY MOUNTAIN: ZACH HORN

Zach Horn, Tomatoes 2018, graphite on arches

 

Boston-based artist Zach Horn has created an exhibition where food and landscape take center stage. Horn has depicted key ingredients of a picnic: a watermelon, sliced cucumbers, a hot dog, bowls of spaghetti and even a life-sized gingham blanket. A massive graphite drawing of a cave functions like a backdrop that allows the viewer to almost step into the scene. In another area, the viewer confronts a three-dimensional sculpture of a yellow-hued mountain range that curiously projects from the wall.

Pattern and repetition are prominently featured throughout these selected works. In the large graphite drawing Tomatoes, 2018, the artist has meticulously rendered slices of tomatoes placed in perfect rows. Horn states, “The food pictures are arranged in symmetrical abstraction, often with a closed composition. It’s recognizable form, but it is couched in the language of spiritual abstraction: patterns, mandalas, the grid, and the sublime landscape”. The artist’s celebration of routine daily tasks and the importance of coming together around food have inspired these compositions. The repetitive act of carefully preparing ingredients for the family meal may be a ruminative experience, just as drawing may be a meditative act. Ultimately, Horn invites the viewer to contemplate feelings evoked through food and the environment.

EDGING FORWARD: RICHARD KEEN

Richard Keen, Form Singularity No. 107 2017, acrylic and oil on canvas

 

Maine-based artist Richard Keen explores abstraction in both paintings and mixed media, wall-oriented sculptures. Keen states that “experiences are brought into focus by removing unnecessary detail, often simplifying the world into line, shape, color and texture.” In his paintings there are often predominant solid shapes, sometimes further accentuated by precisely painted pin-striped lines, that occupy other expanses of color. Imbued with order and clarity, the angular forms in Keen’s paintings seem to be derived from aerial views of the landscape. Dominant central shapes often have smaller lines that are like pathways or roads, leading the eye off the picture plane.Shapes that emerge in Keen’s paintings inform his wall sculptures—often incorporating surfaces created by sanding though successive layers of paint. Originally inspired by the undersides of boats being stripped of paint, Keen’s revelation of these layers of history is integral to his process. The quirky, enigmatic forms created by the artist integrate objects such discarded wood and other found materials.  Using polyester resin, fillers and spray enamel, Keen brings together these contrasting surfaces within his singular compositions.

Yikes Studio: Enamel Class and Limited Necklace Sale

Beach Cascade

 

SALE

Four, beautiful, long, statement necklaces on sale for a limited time only. These necklaces traveled with me this fall to a couple shows but a match has yet to be made for these beauties! The necklaces are one-of-a-kind and very limited. The sale runs through end of Feb. To view images and purchase go to www.suzanneanderson.me

CLASSES

Sign up now for this basic introduction to the art of enameling. Learn the magic of fusing colored glass to metal. This 4 hour class will cover all the basic techniques: applying powdered glass, scrafitto, liquid enamels, metal prep, firing, finishing and creating simple earrings and a pendant. The cost for the class is $80 + $20 materials fee. Class size is limited to 5.

Saturday, February 16, 9:30-1:30 SOLD OUT!
Sunday, Feb 17, 9:30-1:30 limited space still available

The classes are being held at Rebecca Krupke Studio, 9 Central St. Suite 308,  Bangor. To sign up visit: www.rebeccakrupke.com

UMaine Museum of Art announces Winter Wigout Dance Party

UMaine Museum of Art announces
WINTER WIGOUT DANCE PARTY
SATURDAY, JANUARY 26, 2019 from 8 p.m. – 12 a.m.
Get decked-out for a wigtastic evening of dancing and wig-wearing reverie! $7 admission benefits the UMaine Museum of Art Alliance and Bangor Arts Exchange. Meet the Wigovenors, take a photo with the BIG-WIG and dance all night long to the sweet beats served up by DJ Thermomatt. Stack it to the Max – what ya got to lose?
This event is 21+, and a there will be a cash bar on site. Support your local arts organizations while getting wiggy with it!

 

The Sixth Annual All Small Art Show and Artist’s Reception

The Sohns Gallery, located in The Rock & Art Shop at 36 Central Street, presents The Sixth Annual All Small art show.  Sixty local Maine artists were given three small (6”x 6”) birch wood panels and asked to create. The result is one of the most diverse gallery shows of the year. Artist’s works include a wide variety of mediums from wax encaustics, cardboard relief, prints, carved and burnt wood, to, collage, assemblage, oil and acrylic paintings. The All Small works hung together on the gallery wall provide a great viewing experience and the size of the works helps keep the prices accessible. Curator Annette Dodd say’s “this show is a great way to encourage gifts of art, with the show ending on Dec. 24th just in time for Christmas. It is traditionally one of our best received shows.” The show runs from Nov 5th – Dec. 24th and can be viewed any day between 10am and 6pm at The Rock & Art Shop. A reception will be held on Dec. 7th at 6:30. 
 

For more information contact the Sohns Gallery at (207) 947-2205 or at therockandartshop@gmail.com

 

UMaine Museum of Art announces Fall Exhibitions

Darren Emenau, “Wellsford II”

The University of Maine Museum of Art, located at 40 Harlow Street in downtown Bangor, opens four new exhibitions in September. Included are Second Nature: Shelley Reed, Olio: Darren Emenau, So Real: Selections from the Museum Collection, and Animalistic: Selections from the Museum Collection. UMMA is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region, presenting approximately 12 original exhibitions each year. UMMA’s fall shows open to the public on September 14 and run through December 29, 2018. Admission to the Museum of Art is free in 2018 thanks to the generosity of Deighan Wealth Advisors.
OLIO: DARREN EMENAU
September 14 – December 29, 2018Darren Emenau’s creations emerge through unharnessed and playful explorations of form and materials. As the title suggests, showcased in Olio is a miscellaneous collection of hand-made ceramic objects ranging from irregularly-shaped vessels to wall-oriented pieces. The works featured are the culmination of a fertile period of experimentation resulting in innovative leaps for the artist. New forms were developed, dramatic shifts in scale employed, and new objects conceived within the context of contemporary installation. Among the new creations are vessels of varying sizes that resemble exaggerated clubs. The stretched and slender tubes are grounded by rounded bases and, when arranged in a row, the stance of each exerts a quirky, unique confidence. Also featured is an installation in which Emenau has stripped away all references to the utilitarian. These arranged works incorporate dozens of organic forms that evoke globular organisms or otherworldly rocks. When viewed en masse the objects are like unearthed fragments from unknown terrain.Emenau’s lush surfaces are imbued with nature’s essence. Their simple elegance seems effortless and disguises the technical skill required for creating such elemental forms. Developed through intense experimentation, Emenau’s glazes are remarkable for their color saturation. Hues range from acidic yellow-green to intense blue tones, and from mossy green to pale peach-pink. As a result of his glaze application, and transformation in the kiln, the raised cracked textures bring to mind lichen, bark or the parched, cracked earth. Through these invented forms, Emenau affirms that rustic can also be delicate.Admission to the Museum of Art is FREE in 2018 thanks to the generosity of Deighan Wealth Advisors.

Shelley Reed, “Rooster and Turkey”

SECOND NATURE: SHELLEY REED
September 14 – December 29, 2018Shelley Reed’s meticulously rendered subjects, derived from the paintings of old masters, are shrouded in beauty—but within the opulence there’s a glimmer of turmoil and peril. Reed’s paintings highlight essential dualities and are imbued with profound messages related to fragility, power and life’s uncertainties. Using black and white oil paint, Reed has stripped color of its symbolic and seductive potential, while shifting the viewer’s focus to the subtle details of the scene. The artist adds, “In this age of radical visual bombardment, maybe it takes a bit of toning down and an element of quiet and stillness to call attention to the message.”A focal point of Second Nature is the monumental work Bird that spans ten by fifteen feet. Multiple sheets of painted paper make up the image of a huge crane that hangs upside-down with a bent leg and majestic, outstretched wings. Reed poses questions for the viewer: what incident has led to this graceful creature’s treacherous state? Was this hazard caused by humans? The bird’s open eye leads the viewer to question its demise. Moral messages and lessons may be found in the historic paintings that inform these contemporary interpretations. In Bird Concert, an unlikely congregation of bird species, in all shapes and sizes, creates a disconcerting narrative. It’s as if a perilous act has forced these fowl to occupy this compressed space. Surveying the menagerie of agitated birds, it seems that the loudest screech by the biggest bird overshadows the song of others. In light of the nation’s current divisive political climate, Reed’s composition reveals a timely message. The birds are stand-ins for a chorus of humans—the individual voice drowned out by a cacophony of clamoring and opposing rants. The hand of man undoubtedly plays a fundamental role in all this animal theater. In the exhibition, Reed has included two dramatic paintings of men as a reminder that we are both members and encroachers in the natural world.

 

The Sohns Gallery presents, “Mixed Media Paintings by Ed Carrion”

The Sohns Gallery, located in The Rock & Art Shop at 36 Central Street, presents Mix Media Paintings by Ed Carrion. 

Influenced by Gustav Klimt, Ed’s works depict strong women in detailed brightly designed attire set in a mystical settings. His works draw on color, pattern and Nature for inspiration.  Ed Carrion’s works are a true delight to the eye and a must see in person. 

The show runs through August, 31st and can be viewed any day between 10am and 6pm in The Rock & Art Shop. A reception will be held on July 6 from 5:30 to 7:30, Artist Talk at 7. 

For more information contact the Sohns Gallery at (207) 947-2205 or at therockandartshop@gmail.com

UMaine Museum of Art announces Summer Exhibitions

The University of Maine Museum of Art, located at 40 Harlow Street in downtown Bangor, opens four new exhibitions in May. UMMA is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region, presenting approximately 12 original exhibitions each year. UMMA’s summer shows open to the public on May 25 and run through September 1, 2018. Admission to the Museum of Art is free in 2018 thanks to the generosity of Deighan Wealth Advisors.

Helen O’Leary (American, born Ireland 1961) Safe House, 2017-2018, Egg tempera and oil emulsion on constructed wood

SAFE HOUSE: HELEN O’LEARY
May 25 – September 1, 2018

Safe House features the works of Irish-born artist Helen O’Leary, who lives and works in Hoboken, New Jersey. O’Leary’s constructions straddle the territories between painting and sculpture. Many of her freestanding works are arranged on tabletops, and when joined with other wall-oriented compositions, create a lively and engaging installation. Created of wooden strips, plywood, cotton duct and other materials, these works share each other’s space while asserting their own unique, yet quirky stance. “I knit with wood,” O’Leary states, “building and building the painting out of the ruin of its own making. Each piece is cobbled together from the chiseling of earlier attempts.”

O’Leary’s works are raw, yet intuitively assembled, and imbued with soul. Flat wooden cutout shapes are joined together through notched-out sections, while rough sticks are fashioned into supports like complex armatures. These re-purposed materials reveal their histories– imperfections celebrated while coming together like puzzle pieces. Some of O’Leary’s constructions incorporate expansive planes of color. In these, the artist has crafted and applied a sophisticated paint mixture to render surfaces like an almond that’s been coated with sugar to reveal a hardened, smooth shell.

Diana Schmertz (American, born 1973) Origin Stories, 2017, Oil paint on 556 2″ diameter wood tondos, Courtesy of the artist

THEY ARE EACH OTHER FOR A WHILE: DIANA SCHMERTZ
May 25 – September 1, 2018

They Are Each Other For A While, features an array of paintings by New York City-based artist Diana Schmertz. The artist’s work balances “emotional reasoning and intellectual logic” to allow viewers to explore ‘the self’ in relation to the world, while utilizing visual systems that aim to challenge belief structures.

A focal point of the exhibition is Origin Stories, a wall installation that depicts 556 human navels painted on two-inch diameter circular wooden panels. These belly buttons represent the specific individuality of every human being—while the tondo format symbolizes mathematical order for the artist. This piece challenges the viewer to consider their own self in relation to others. Focusing on what unites, the artist has depicted various bodies and skin colors that look beyond social hierarchies—or thoughts fueled solely by history and politics.

The Uncertainty Principle, a large-scale canvas measuring 7½’ x 9’, highlights intimate moments of human interaction. Schmertz often chooses the body as a principle subject “because we filter everything we perceive through our physical senses.” Her realistically rendered images are painted in the confines of circular areas arranged in a grid. When viewed close up the sensitively rendered details of each circular moment are revealed; while from a distance the composition reads as an expansive white field populated by a grid of flesh colored dots.

 

Steve Bartlett (American, born 1961) Crosscut, 2017, Ash, stain, paint, varnish, Courtesy of the artist

WORKS FROM 2013-2018: STEVE BARTLETT
May 25 – September 1, 2018

Maine-based artist Steve Bartlett has created a dynamic environment that features large-scale floor sculptures, wall-mounted compositions, and small objects. The exhibition also features several never-before-seen sculptures created in 2017 and 2018. Bartlett’s sculptures are crafted from ash, oak and walnut, and display the artist’s impeccable craftsmanship and inherent joy in the creative process. He utilizes steam-bent techniques for shaping and constructing the complex curves of the varied forms. Bartlett explains his sculptural process as “intuitive and evolutionary.” While the forms are enigmatic, they are also rooted in nature; their character and gestures seem to reference organic flora. A symbiotic relationship exists between the artist’s ideas and his chosen media. The work in his studio evolves in a fluid manner as the unique character of materials inform the final outcome.

Central to Bartlett’s recent works is the introduction of hard-edged painted areas, primarily in black and white. These painted elements, in the form of bands and circular notations, accentuate the curved shapes to create bold and unexpected graphic overlays. Bartlett explains “there is no direct message in his sculptures” and that he “simply hopes to engage and provoke the imagination” through organic and geometric shapes.

Eric Lindveit (American, born 1964) Installation view, Courtesy of the artist

SYLVAN NATURAL HISTORY: ERIC LINDVEIT
May 25 – September 1, 2018

In Sylvan Natural History, New York City-based artist Eric Lindveit exhibits an array of dimensional works on paper in which things aren’t quite as they appear. Inspired by a series of hand-colored illustrated books published in 1842 depicting the flora and fauna of New York, Lindveit has created scaled-up versions of New York City trees. What is surprising is that these enlarged views of varied bark are constructed from pencil, acrylic, flocking, sawdust, paper, and burlap over steel box springs. Lindveit has rendered the details of these trees, and in some cases their blemishes, in striking detail. Many appear to have suffered trauma—branches cut, wounds to the bark, irregular growths, knots, and protuberances, while some serve as hosts to opportunistic fungi.

Some of the sculptures are displayed in crate-like frames that are stacked to create a monumental wall structure. Lindveit explains, “When the work is believable, it becomes somehow real, no matter how improbable. I am making greatly exaggerated composite portraits that combine my interest in surface, identity, entropy, and the skin of paint. They belong to the built environment.” These stacks occupy an entire expanse of wall like an altar, inviting the viewer to see these sculptures in relationship to architecture. We are left to ponder the artifice of a built environment in contrast to our experiences and relationship with the natural world.

Admission to the Museum of Art is FREE in 2018 thanks to the generosity of Deighan Wealth Advisors.

Artists Create Public Installation for Downtown Bangor Community

The City of Bangor will offer a little more to visitors this summer. Three artists will create six large scale wheat-paste installations on selected buildings, adding an entirely new dimension to the community.
The installations are part of a project by Bangor Beautiful – part of The Downtown Bangor Partnership – and Queen Collective. The collective is made up of local museum and art educators and a gallery owner whose mission is to bring more public art to Downtown Bangor. These wheat-paste works will be installed on June 2nd, 2018. The work will remain on the buildings throughout the summer and be removed in the fall. The Rock & Art Shop and Sohns Gallery will host a talk about the installations later in the season, giving the community an opportunity to discuss the work and meet the artists.

The project is a response to the positive community reaction to wheat-paste installations that have been installed in other communities in Maine such as Waterville and Gardiner. Kerstin Gilg, who worked on both the Waterville and Gardiner projects, suggested the idea when The Downtown Bangor Partnership was looking for ways to bring art into public areas in Downtown Bangor.

“There seems to be this rejuvenated interest in public spaces downtown,” Gilg said. “This is a really nice way to show that the downtown is a place for creative people and a place that people care about.”
Wheat-paste, which is typically made from four parts water and one part wheat flour, is inexpensive and temporary. People who frequent downtown really enjoy the additions. This type of work not only creates greater access to art but also serves as a welcome to visitors, and highlights the creativity that exists in our community.

The Queen Collective built partnerships with the local merchants who are sharing their buildings, and procured the support of the City of Bangor. Like many artists and collectives, the group created parameters to generate content. The guidelines that were settled upon were that the work needed to be an original piece of art, have a focus on flora or fauna, and did not advertise any existing business, product, or service.

This large scale wheat-paste project was made possible by funds provided by The Downtown Partnership and a matching grant from the Bangor Cultural Commission.

For more information contact: Annette Dodd, 207-974-6222, therockandartshop@gmail.com