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.
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:
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.
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.
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.”
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: firstname.lastname@example.org or call 207-460-8018. mainecraftsguild.com
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.
“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.”
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.
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.
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.
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.
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.
The Maine Crafts Guild, in celebration of American Craft Week, will present the Brunswick Fine Craft Show on October 8 & 9, 2016 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.
American Craft Week began as a small, grassroots effort to enhance the knowledge and appreciation of handmade craft. In 1975, these same principles inspired a community of Maine artisans to establish the Maine Crafts Guild and continue to guide the organization.
“American Craft Week has caught the imagination of so many supporters,” said Diane Sulg, founder and co-chair of the event. “With the growing appreciation of both artisan products and American-made goods, craft is highly regarded for its strong design, quality materials, expert workmanship and enduring value.”
As a proud participant in American Craft Week, the Guild’s Brunswick Fine Craft Show will bring buyers and artists together for unique shopping experiences in wood, metal, clay, natural fibers and glass. The traditional Maine manufacturing setting of the renovated Fort Andross Mill Complex and live music will ensure a celebratory atmosphere.
Admission: $3 adults; under 18 free. October 8 & 9, 2016: Sat. 10am – 5pm & Sun. 10am – 4pm. Fort Andross Mill Complex, 14 Maine Street, Brunswick, Maine. For more information please email: email@example.com or call 207-754-4490. mainecraftsguild.com
Bayview Gallery is delighted to welcome Wendy Newcomb back into our fold. Living among the beauty of Maine’s lush landscapes, extensive lakes, streams and impressive rocky coasts, Wendy is continuously inspired to capture this imagery in her paintings. Her palette conveys the magnetism of the environment. The colors, while true to what she sees, have a vibrancy that reflects her prowess with her medium as well as her passion for her subjects.
Wendy reflects on her paintings:
“My paintings represent a visual journal of my life in Maine. My work reflects my love of nature and my participation in it. Spending time walking, hiking, kayaking, and biking, I have the opportunity to stop and look closely at my surroundings. It is this connection to nature that I want to recreate in order to share it with others. Often, my intent is to give the viewer a sense of being there with me, whether climbing a rock, floating down a river, or looking closely at various plant life.”
Still life paintings are more than just a random collection of flowers, fruit, containers and objects. In the Boston School tradition, there is often meaning and symbolism to the elements the artist selects.
Gayle discusses her inspiration for Peace:
“The story of this painting is rather amusing and perhaps not everyone will relate to it. When I was planning the piece, we had recently acquired a new puppy. I began thinking about tender little beginnings like babies and puppies. The little rose in the middle of the arrangement represents that. The other objects represent other stages in life, and the keys are the keys to the mystery of life.”
For more information visit www.bayviewgallery.com or call 1-800-244-3007