Café des Artistes

Archive for Brunswick

The Universal Unitarian Church Gallery Presents “Eastern Reaches”

 

The Universal Unitarian Church Gallery in Brunswick presents “Eastern Reaches,” Asian brush paintings by Waldoboro artist, Jean Kigel at One Middle Street, Brunswick, Maine, from May 29 to June 26.  A reception to meet the artist will be Wednesday, May 29 from 2-4 PM.  

Large and small paintings of orchids and peonies, shore birds and songbirds, and waterfalls and mountains will line the walls.  Kigel’s work exemplifies both xiexi (spontaneous) and gombi (meticulous) styles of brush painting, both in color and in sumi-e.  She paints using traditional bamboo brushes, hand-ground inks, mineral and organic pigments, and various absorbent “rice papers”.  These papers are not rice-based at all, but derived from inner barks of a variety of Asian trees. Kigel states, “Although water-based, Asian brush painting is nothing like watercolor painting.  With Asian brush, can load multiple colors of paint consecutively into one brush, and lay it down so as to blend the colors magically into paper that drinks it up. Using other techniques, a dry brush can dance and cavort over the.”

“Spontaneous, Loose, Bold” these are the words of late Portland Press Herald art critic, Phillip Isaacson, describing Kigel’s Asian brush paintings.  Also stating that, “Kigel is a master of the oriental brush. Her work with ink or ink with color strikes the viewer as spontaneous, loose, bold, and somehow inevitable…By the latter I mean the product of a difficult skill an attitude acquired through commitment and study…”

The gallery is located on the corner of Pleasant and Middle Streets across from the Curtis Memorial Public Library with hours Tuesday through Friday 10am – 4pm,  On-street parking should be available. FMI contact 207.729.8515 or jean@jeankigel.com

The Frank Brockman Gallery Presents “Delight in Disorder”

Anne Hebebrand, A Careless Shoestring, oil on panel, 28” x 22”, 2018

 

The Frank Brockman Gallery, in Brunswick presents Delight in Disorder: New Paintings by Anne Hebebrand. Opening: Saturday,  June 8-29, 5:30 – 8:30 PM.  Anne Hebebrand’s color filled paintings range from pure abstraction to more lyrical abstractions full of small passages of line and forms. “There is a wonderful choreography in all of her work, a patient geometry that is musical and balletic at the same time.” (Pat Rosoff)

 

This is Anne Hebebrand’s first show in Maine and at the Frank Brockman Gallery.  Having moved from Connecticut to Bath, Maine three years ago she is very excited to show her new body of work. Anne delights in the magical things that happen in the painting process creating order out of chaos. Her paintings are made up of multiple layers of blocks of color contrasted with gestural marks. The name for this show was taken from the title of a poem by the 17th century poet Robert Herrick, who expresses the beauty seen in the disorder of small things in life. The poet’s description of the unraveling of a shoelace is a playful metaphor for possibilities that can arise with the gesture of a squiggly line.  “It is the excitement in the activity of painting and the taking of chances that keep me engaged and leads to unpredictable encounters,” writes the artist. “The lyricism in Anne Hebebrand’s work can have us thinking about music with associations of color and line in the manner of Paul Klee’s paintings. Her checkerboard and striped blocks of color contrasted with her rhythmic loopy lines start you humming as the artist establishes counterpoint in each individual work.” (Pamela Ambrose)

 

Anne Hebebrand was born and raised in Germany and now splits her time between Bath, Maine  and Todos Santos, a small artist town in Baja California, Mexico. Before moving to Bath, Maine, Anne taught at Great Path Academy, Manchester Community College and at Albertus Magnus College in Connecticut.  She was named the Connecticut Art Education Association’s Outstanding Secondary Arts Educator in 2012. Anne’s pieces are in many private collections in the United States, Germany and Mexico.

Artist Julie Babb’s Works at the Unitarian Universalist Church Gallery in Brunswick

Artist Julie Babb will hold a solo exhibition of her paintings at the Unitarian Universalist Church Gallery in Brunswick.  The Church is located at 1 Middle Street, and the exhibit will run from Sunday, March 24th until the end of April.  The Gallery is open from 10 – 4.  Babb is well-known in the area for her detailed gouache paintings of birds and natural subjects.  Gouache is an opaque form of watercolor which lends itself to the intense detail that she gives to her paintings.  Babb has studied ornithology with the Cornell Lab of Ornithology Bird Biology course of home study, plus winning a scholarship to attend the ornithology camp at Audubon’s Hog Island.  She has exhibited in many area locations, including the Audubon Guildsland Farm, and a solo show at the Coastal Botanical Gardens in Boothbay.  She has won many awards for her work, including Best of Show for several years at the Maine Sportsmen’s Alliance Wildlife Art Show in Augusta.  Babb also teaches classes for Lincoln County Adult Education and River Arts in Damariscotta.  Julie Babb is represented by the Bayview Gallery in Brunswick, and seasonally, the Pemaquid Art Gallery at Lighthouse Park.  Her work can also be seen at www.covehousestudios.com.

The Maine Crafts Guild: 3rd Annual Brunswick Fine Craft Show

Rondel Collection of Anita Roelz Circle Stone Designs, Sterling silver and 18K rings, Woolwich, Maine

The Maine Crafts Guild will present the 3rd Annual Brunswick Fine Craft Show on October 27 & 28, 2018 in Brunswick, Maine at the Fort Andross Mill Complex. The show will offer works of excellence in fine craft, designed and handmade by professional Maine artisans.
Over 30 artisans will travel from around the state to exhibit, with several local to the Brunswick area including; Tom Dahlke (furniture), Bonnie Bishoff and J.M. Syron, Maggie Bokor, Lisa and Scott Cylinder, and Anita Roelz (jewelry), Emi Ito and Amy Smith (woven fashion) and Catherine Worthington (textile art).

Handwoven Scarf by Emi Ito, Ysoko, Inc – Bath, Maine

The Maine Crafts Guild is a statewide organization, established in 1975. Members are selected through a jury-of-peers process and are comprised of journeymen, nationally recognized masters and founding members who dedicate themselves to excellence in fine craft.

Bonnie Bishoff and J.M. Syron, open form necklace of polymer clay millefiori marquetry covering nickel silver and sterling silver wire, Brunswick, Maine

The Brunswick Fine Craft Show will bring buyers and artists together for unique shopping experiences in wood, metal, clay, natural fibers and mixed media. Admission: $4 adults; under 18 free. October 27 & 28, 2018: Sat. 10am – 5pm & Sun. 10am – 4pm. Fort Andross Mill Complex, 14 Maine Street, Brunswick, Maine. For more information please email: brunswick.show@mainecraftsguild.com or call  207-266-3741. mainecraftsguild.com

Bowdoin Museum Commissions Artist linn meyers

linn meyer

 

Bowdoin Museum Commissions Interactive Wall Drawing by Artist linn meyers Who Will be Artist-in-Residence at Bowdoin in Fall 2018

meyers Collaborates with Interaction and Sound Artists Rebecca Bray, James Bigbee Garver, and Josh Knowles to Create a Site Specific, Multi-Sensory Experience

The Bowdoin College Museum of Art (BCMA) announced today that it has commissioned a site-specific, multi-media art installation to be unveiled this fall. Washington, D.C.-based contemporary artist linn meyers will create a large-scale wall drawing entitled Let’s Get Lost, while serving as the 2018 halley k. harrisburg ’90 and Michael Rosenfeld Artist-in-Residence at the College. Concurrently, interaction and sound artists Rebecca Bray, James Bigbee Garver, and Josh Knowles, along with meyers, will create an interactive sound installation, Listening Glass, that corresponds with the wall drawing and features acoustic components activated through audience participation. The works will be exhibited together as Let’s Get Lost and Listening Glass at the Museum for a year from September 27, 2018 through September 29, 219.

For nearly 20 years, linn meyers has created large-scale wall drawings in both public institutions and private collections. Using paint markers favored by graffiti artists, she creates sprawling and oscillating linear patterns that activate spaces for visitors, reveal elements of a site’s architecture, and highlight the inevitable imperfections of the human gesture. For Let’s Get Lost, meyers will use the four niches in the BCMA’s Charles Follen McKim-designed Walker Gallery to drive the composition of her wall drawing. Her drawn piece will take cues from Listening Glass, using the sound project to inform the composition of the drawing, thus turning sound into drawn gesture. Listening Glass grew from meyers’s recent 2016–17 installation at the Hirshhorn Museum and Sculpture Garden, where she created a 400-foot long drawing entitled Our View From Here. While the work was on view at the Hirshhorn, Bray and Garver independently created an interactive sound installation as a response. The BCMA’s commission formalizes this partnership and makes it accessible for a broad public.

Using a custom iPhone app with advanced digital audio software and augmented reality technology, Listening Glass allows museum-goers to interact with Let’s Get Lost, to generate sound, creating improvised collaborative musical compositions using the drawing as a score. With the app on a handheld device, Listening Glass transforms the museum visitors’ gestures into sound, rendering the audience-performers’ motions in sonic triggers, audio distortion, reverberation, arpeggiations, and other expressive sonic events. The resulting sounds will emanate from each visitor’s iPhone, allowing sound and motion to connect audiences more fully to each other and to the drawn piece.

This project is a collaboration between the artists and the audience, pushing existing boundaries to create new compositional possibilities. In Let’s Get Lost and Listening Glass, drawing is explored as a multi-sensory experience, inviting responses through sight, sound, and movement. Listening Glass heightens the audience’s interaction with Let’s Get Lost from contemplative observation to active involvement.

Let’s Get Lost and Listening Glass represent an innovative and powerful collaboration, demonstrating the exceptional potential of creative exchange across artistic boundaries,” said Bowdoin Museum Co-Director Anne Collins Goodyear. “We are excited about the many ways in which the artists have already engaged the Bowdoin community, bringing together students, faculty, and staff across the visual arts, music, and computer science departments,” continued Co-Director Frank Goodyear. “We hope to continue to foster opportunities for the Bowdoin community and the public at large to engage with contemporary art.”

In conjunction with the installation of Let’s Get Lost and Listening Glass, linn meyers will serve as the fourth annual halley k harrisburg ’90 and Michael Rosenfeld Artist-in-Residence at Bowdoin College for the Fall 2018 semester. The halley k harrisburg and Michael Rosenfeld Artist-in-Residence program allows Bowdoin Visual Art faculty to invite internationally renowned artists to campus to work directly with students from across campus in a range of disciplines, and the college community through critiques, discussions, workshops, lectures, and other activities.

Upon her appointment, artist linn meyers said, “I am honored to be the halley k harrisburg ’90 and Michael Rosenfeld Artist-in-Residence at Bowdoin College and am looking forward to exploring pressing interdisciplinary questions with faculty and students.” Explaining the project, she said, “Our team has been working to map gesture, drawing, and sound in ways that are intuitive and satisfying, encouraging surprising interactions and new kinds of spatial and sonic thinking.”

James Bigbee Garver continued, “For example, vertical movements of the handheld device can be mapped to resonance; rate of movement is mapped to loudness; color information is mapped to attack, decay, sustain, and release envelopes. When one or multiple participants are in the room, the ensemble of sounds from the handheld devices will voice the drawing’s score to varying degrees of complexity through improvisation.”

Listening Glass,” Rebecca Bray continued, “allows the audience to collaborate with us to perform an audiovisual piece, using handheld devices to interact with a wall drawing to turn gestures into music. We anticipate some audience gestures will intuitively mimic the gestures which meyers used to make the wall drawing, and some will be very different. By listening to the sound emanating from their handheld device, participants will see the drawing anew–the interaction will connect them to the particulars of line, form, and space in the drawing.”

Speaking to the goals of the project, Josh Knowles added, “Listening Glass challenges us to consider how to make technology invisible while making interactions intuitive and rich with possibility. We seek to create a piece of technology that serves as a creative conduit between a person and a piece of visual art, an architectural space, and other viewers.”

meyers concluded, “The audience member will be confronted with questions about experiencing art, interpreting art, and the private versus social nature of perceiving and relating to art.”

About the Artists

linn meyers is an internationally-recognized, award-winning visual artist with work in public and private collections around the world. Celebrated for her large-scale wall drawings, her work relies on the constantly shifting nature of experience and what she calls the “unplanned imperfect.” Meyers has exhibited at the Hammer Museum, Los Angeles; the Phillips Collection, Washington, D.C.; the Smithsonian American Art Museum, Washington, D.C.; and the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; among others. The recipient of a Pollock Krasner Award and a Smithsonian Artist Research Fellowship, she earned her B.F.A. from The Cooper Union and her M.F.A. from The California College of the Arts.

Rebecca Bray is an artist whose artwork spans performance, installation, and game design. She creates work that is deeply responsive to, and challenging of, audiences. Her work has been exhibited at the Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of Art. Bray was previously the Chief of Experience Design at the Smithsonian Institution’s National Museum of Natural History and is the Managing Director of the Center for Artistic Activism.

James Bigbee Garver is a sound designer and composer, preferring the title of Sound Writer. He creates sonic inventions, soundscapes and music for live performance, interactive media, and film, often mixing the timbres of acoustic instruments with synthetic audio to sculpt imagined textures and environments. Garver has exhibited at the National Museum of Natural History, Washington, D.C.; the National Museum of American History, Washington, D.C.; and the American Museum of Natural History, New York; among other venues.

Josh Knowles is a software developer, game designer, educator, and electronic musician. His work explores the edges of technology and seeks to create seamless and beautiful relationships between people and information. Through his company, Frescher-Southern, Ltd., he has built creative technology projects for numerous brands and technology start-ups. Josh is an adjunct professor at NYU and a former member of the board of directors of the Austin Museum of Digital Art. He has spoken at conferences around the world about game design, digital audio, and software. Josh is also an award-winning digital musician.

 

Bowdoin College Museum of Art presents Winslow Homer and the Camera:

 

 

 

 

 

 

 

 

 

 

First Exhibition to Examine Painter Winslow Homer’s Use of Photography
At the Bowdoin College Museum of Art, Opening Summer 2018

New discoveries will be unveiled in this expansive exhibition, featuring more than 130 Homer paintings, drawings, prints, photographs, and archival materials, including his camera, from the BCMA’s extensive collection of the artist’s work 

This summer the Bowdoin College Museum of Art (BCMA) will present Winslow Homer and the Camera: Photography and the Art of Painting, the first exhibition to look at the role of photography in Homer’s artistic practice. On view June 23 through October 28, 2018, Winslow Homer and the Camera brings together over 130 objects by the artist across all mediums, ranging from master paintings to oil studies, drawings, prints, and photographs created in the United States and during his travels to Europe and the Caribbean. This comprehensive survey was inspired by the BCMA’s 2013 acquisition of a camera once owned by Homer and presents new research drawn in part from the museum’s extensive collection of works by the artist.

 

Curated by co-director Frank H. Goodyear III and Bowdoin art history professor Dana E. Byrd, the exhibition will present a full picture of the artist’s working methods and will include noteworthy archival objects, such as three wooden mannequins, his palette and watercolor brushes, his walking stick and fishing net, and two of the three cameras he owned in his lifetime. Homer acquired his first cameras during a two-year sojourn abroad in England, a trip he took in his mid-forties seeking a new direction in his art. Upon his return in 1882, scholars noted a demonstrable change in his style of painting and choice of subjects. Taking this shift and the artist’s penchant for experimentation across mediums as a point of departure, Winslow Homer and the Camera questions how new visual technology impacted the artist’s production and engagement with subjects and unveils how photography became increasingly a part of Homer’s visual investigation and broader creative practice.

“We are thrilled to present Winslow Homer and the Camera this June,” said Frank Goodyear, co-director and organizer of the exhibition, “Since the generous gift of Homer’s camera, my colleague Dana Byrd and I have been engaged in understanding how Homer’s interest in photography influenced his own artistic identity. This exhibition allows us to consider how Homer’s experimentation with photography solidifies the artist as a proto-modern figure, anticipating many of the trends and concerns of American and European artists who followed.”

“The opportunity to examine Homer, a well-loved and well researched figure of American art, anew, has been so rewarding,” says Dana E. Byrd, “Utilizing the museum’s extensive collection of the artist’s work, Frank and I have uncovered a new facet of Homer, and we hope this pioneering framework will lead to continued revelations of how the iconic painter engaged with the modern world.”

 

While Winslow Homer and the Camera: Photography and the Art of Painting draws principally from the BCMA’s Winslow Homer Collection, the exhibition will also feature works on loan from twenty-five institutions and collectors from across the United States. Following its presentation at the BCMA, the exhibition will travel to the Brandywine River Museum of Art in Chadds Ford, Pennsylvania. Museum Director Thomas Padon noted, “Homer defined the look of America in the second half of the 19th century and is central to key artists in our collection, which gives the exhibition particular resonance here at Brandywine.”

 

An illustrated catalogue of the same title authored by Byrd and Goodyear and published by Yale University Press will accompany the exhibition. The catalogue will serve as a significant contribution to the study of Winslow Homer and the cross-disciplinary study of painters and photography in American art.

 

The Museum is also pleased to announce a series of exhibition related public programs throughout the summer and fall, featuring an array of perspectives on Homer, from art historians to fly fishermen. Highlights include:

 

  • keynote programled by exhibition co-curators Frank H. Goodyear III and Dana E. Byrd, providing an orientation to the exhibition’s themes in conjunction with the exhibition’s opening;
  • Gallery talksby art historians Susan Danly and Linda Docherty
  • Music performances by faculty from the Bowdoin International Music Festival inspired by the exhibition

 

The exhibition was made possible in part by Bank of America.  This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

New work by Matt Demers at Frank Brockman Gallery

“Insignificant Other” by Matt Demers

June 9th-30th , Opening Saturday June 9th 5:30-8:00

Frank Brockman Gallery 68 Maine Street Brunswick, Maine 04011

Gardiner artist Matt Demers will be exhibiting new work at the Frank Brockman Gallery in Brunswick from June 9th to June 30th. Meet the artist at a public opening on Saturday June 9th from 5:30-8:00 pm. Demers creates abstract mixed media compositions using a wide variety of materials and techniques. “My work is a visual representation of my constantly racing mind. It’s a channel for observation, memory, overthinking, doubt, fear, and happiness. Emotions and personal experiences become arrangements of forms, textures, and materials. Frank Brockman Gallery is located at 68 Maine Street in Brunswick. Gallery hours are Tuesday through Saturday 11am-5pm.

Maine Crafts Guild Announces Brunswick Fine Craft Show, Oct. 7-8, 2017

Detail of “Sunflowers” textile paint on canvas and cotton by Catherine Worthington

Detail of “Sunflowers” textile paint on canvas and cotton by Catherine Worthington

The Maine Crafts Guild, in celebration of American Craft Week, will present the Brunswick Fine Craft Show on October 7 & 8, 2017 in Brunswick, Maine at the Fort Andross Mill Complex. This American Craft Week event will offer excellence in fine craft designed and handmade by professional Maine artisans.

Brunswick-based textile artist and new member, Catherine Worthington will exhibit her distinctive painted and stitched textiles. Worthington says, “As I explore the medium of textile painting I am often discovering the balance between abstraction and representation. I love the colors, patterns and textures in the landscape and strive to capture its essence as I paint, creating a rich surface. My process of cutting, piecing and stitching adds abstraction, depth and dimension.”

In the studio with jeweler, Christine Peters, finishing a silver cuff bracelet

In the studio with jeweler, Christine Peters, finishing a silver cuff bracelet

Returning member and jeweler, Christine Peters of Damariscotta, will exhibit her ever-popular silver and gold designs. “I design and create elements and textures which I abstract and simplify the shapes to use over again within a series, playing with different finishes and components for unique looks. My designs are classic and simple, yet modern and strong. Each piece is created deliberately–intentionally and reinforced through the process of making.” says Peters.

As a proud participant in American Craft Week, the Brunswick Fine Craft Show will bring buyers and artists together for unique shopping experiences in wood, metal, clay, natural fibers and glass. Admission: $4 adults; under 18 free. October 7 & 8, 2017: Sat. 10am – 5pm & Sun. 10am – 4pm. Fort Andross Mill Complex, 14 Maine Street, Brunswick, Maine. For more information please email: brunswick.show@mainecraftsguild.com or call 207-460-8018. mainecraftsguild.com

Groundbreaking Exhibition of Memento Mori from the Renaissance Opens at Bowdoin College Museum

Chicart Bailly, Pendant to a Rosary or Chaplet, Paris, France (?), ca. 1500–1530, elephant ivory with traces of polychromy, Detroit Institute of Arts, Detroit. Courtesy of Bowdoin College Museum of Art

Chicart Bailly, Pendant to a Rosary or Chaplet, Paris, France (?), ca. 1500–1530, elephant ivory with traces of polychromy, Detroit Institute of Arts, Detroit. Courtesy of Bowdoin College Museum of Art

The Bowdoin College Museum of Art (BCMA) will soon open a groundbreaking exhibition on the visual culture of mortality and morality in early Renaissance Europe. On view from June 24 to November 26, 2017, The Ivory Mirror: The Art of Mortality in Renaissance Europe reveals how, in an increasingly complex and uncertain world, Renaissance artists sought to address the critical human concern of acknowledging death while striving to create a personal legacy that might outlast it.

Featuring nearly 70 objects, this exhibition incorporates rarely-seen loans from major North American and European museums and works from Bowdoin’s own collection revealing new insights into the understanding of mortality and morality in Renaissance Europe. An elegant installation, organized into eight thematic sections, focused on subjects such as selfhood, morality, piety, and anatomy, enables audiences to understand the broad range of inspirations for and implications of memento mori imagery. Cases provide the opportunity to see ivory prayer beads and other statuettes in the round and in the context of paintings and prints from the period by leading artists such as Albrecht Dürer and Hans Holbein. Magnifying glasses further permit close examination of the exceptional detail with which artists of the period wrought the ivory objects brought together for the first time in The Ivory Mirrror.

Portrait of a Surgeon, Netherlands, 1569, oil on wood. Theodore M. Davis Collection, Bequest of Theodore M. Davis, Metropolitan Museum of Art, New York.

Portrait of a Surgeon, Netherlands, 1569, oil on wood. Theodore M. Davis Collection, Bequest of Theodore M. Davis, Metropolitan Museum of Art, New York.

“While we recognize the Renaissance as an age of exceptional human progress and artistic achievement, macabre images proliferated in precisely this period: unsettling depictions of Death personified, of decaying bodies, of young lovers struck down in their prime. This provocative imagery runs riot in the remarkable array of artworks featured in The Ivory Mirror. For many scholars, these gruesome objects seem to be a last gasp, as it were, of a dying medieval world view, of a culture obsessed with the certainty of death, terrified by the threat of divine judgment, and incapable of enjoying earthly life,” continued curator Stephen Perkinson, “The Ivory Mirror rethinks that traditional view, seeking to understand these morbid images as intimately bound up in the period’s shifting conceptions of the self, of the place of humanity in the world, and of the nature of sin and pleasure. It demonstrates that these objects simultaneously reminded viewers not only of life’s fleeting nature but also of the need to both enjoy one’s time on earth and to live a moral and responsible life.”

Memento Mori Pendant, probably from a rosary, France or Belgium, ca. 1500, ivory. Walter E. Stait Fund, 2007, Philadelphia Museum of Art

Memento Mori Pendant, probably from a rosary, France or Belgium, ca. 1500, ivory. Walter E. Stait Fund, 2007, Philadelphia Museum of Art

The BCMA will display highlights from their own collection alongside artworks loaned from the Victoria and Albert Museum, the Ashmolean Museum at the University of Oxford, the Philadelphia Museum of Art, and the Walters Art Museum among others.

Fully accessible, the Bowdoin College Museum of Art is open to the public free of charge from 10:00 a.m. to 5:00 p.m. on Tuesday through Saturday; 10:00 a.m. to 8:30 p.m. on Thursday, and from 1:00 p.m. to 5:00 p.m. on Sunday.

For more information please visit Bowdoin College Museum of Art’s website or call 207-725-3275.

Why Draw? 500 Years of Drawings and Watercolors at Bowdoin College

Woman and Child, 1604– 1606, black and red chalk by Bernardino Poccetti

Woman and Child, 1604–
1606, black and red chalk
by Bernardino Poccetti

The Bowdoin College Museum of Art (BCMA) will present the first-ever survey of the Museum’s extensive collection of drawings, widely considered the oldest public collection of works on paper on the continent, illuminating the foundational and evolving role of drawing within Western artistic practice. Titled Why Draw? 500 Years of Drawings and Watercolors at Bowdoin College, the exhibition will be on view from May 3 through September 3, 2017.

Tango for Page Turning, 2013, Single channel HD video; 2 minutes, 48 seconds by William Kentridge

Tango for Page
Turning, 2013,
Single channel HD
video; 2 minutes,
48 seconds by
William Kentridge

The exhibition includes more than 150 works by American and European artists across cultures, genres, and time periods, such as Peter Paul Rubens, Giovanni Battista Tiepolo, John Singleton Copley, Winslow Homer, Henri Matisse, Eva Hesse, and Roy Lichtenstein, among many others. Why Draw? will be accompanied by a fully illustrated catalogue that features original texts from renowned scholars and contemporary artists, all considering what compels artists to draw through close study of specific works in the exhibition. These insights, from contributors including David Driskell, Richard Tuttle, James Siena, and Yvonne Jacquette form the touchstones of both the exhibition and the catalogue, guiding viewers through an examination of the traditional functions of drawings in artistic education, studio practice, and the formal; and poetic reasons artists have been driven to drawing throughout history. The Museum will also host several public programs throughout the summer in conjunction with the exhibition, including artist talks, scholarly lectures, and artist-led workshops.

The End of the Hunt, 1892, watercolor over graphite, by Winslow Homer

The End of the Hunt,
1892, watercolor
over graphite, by
Winslow Homer

Curated by Joachim Homann, Curator at BCMA, the exhibition builds on the foundation of Bowdoin’s strong history of collecting works on paper, stemming back to the initial gift of 141 historic European drawings to the college by James Bowdoin III in 1811. Since then the drawings collection has evolved to include nearly 2,000 unique works on paper, encompassing acquisitions and gifts from alumni, artists, and patrons. Many recent additions to the collection will be on view for the first time. Spanning from a drawing from the workshop of Raphael, to the first-ever watercolor by Winslow Homer to enter a museum collection, to works produced in the past five years by Natalie Frank, William Kentridge, and Titus Kaphar, the exhibition offers a diverse selection of masterworks from artists across a wide range of history.

Untitled Drawing, 1943 graphite and colored crayon, by Arshile Gorky

Untitled Drawing,
1943
graphite and colored
crayon, by Arshile
Gorky

Fully accessible, the Bowdoin College Museum of Art is open to the public free of charge from 10:00 a.m. to 5:00 p.m. on Tuesday through Saturday; 10:00 a.m. to 8:30 p.m. on Thursday, and from 1:00 p.m. to 5:00 p.m. on Sunday. 

For more information visit the Bowdoin College Museum of Art website.