_______________________________________________________________________________________________________________________________________
Jon Imber Wraps Up Successful 1st Show at Greenhut
Galleries
First show solos are always a gamble for both artist and gallery, but in the case
of Greenhut Galleries and Jon Imber ...it worked!
Stonington resident Imber has a BFA from Cornell University and an MFA from
Boston University where he studied with Philip Guston. He has taught painting at
the Rhode Island School of Design, the School of Visual Arts in NYC,
Massachusetts College of Art, and is currently an instructor of drawing at Harvard
University.
His work is in numerous public collections including Bowdoin College Museum
of Art, DeCordova Museum, Museum of Fine Art in Boston, the Fogg Museum,
and the Farnsworth Art Museum. His work was in the 2003 Portland Museum of
Art Biennial and he is also represented by Nielsen Gallery in Boston.
Imber's expressionism finds itself playfully mixing color, brushstroke, and the
Maine coastal landscape. When asked about his work, Jon says "clearly half of
what is happening while I am looking and painting comes from my imagination,
my mind and my heart, even memories of other paintings, and all of that is
always changing. Clouds and water, seaweed and rocks, even lilies-they're what
grab me."
Galleries
First show solos are always a gamble for both artist and gallery, but in the case
of Greenhut Galleries and Jon Imber ...it worked!
Stonington resident Imber has a BFA from Cornell University and an MFA from
Boston University where he studied with Philip Guston. He has taught painting at
the Rhode Island School of Design, the School of Visual Arts in NYC,
Massachusetts College of Art, and is currently an instructor of drawing at Harvard
University.
His work is in numerous public collections including Bowdoin College Museum
of Art, DeCordova Museum, Museum of Fine Art in Boston, the Fogg Museum,
and the Farnsworth Art Museum. His work was in the 2003 Portland Museum of
Art Biennial and he is also represented by Nielsen Gallery in Boston.
Imber's expressionism finds itself playfully mixing color, brushstroke, and the
Maine coastal landscape. When asked about his work, Jon says "clearly half of
what is happening while I am looking and painting comes from my imagination,
my mind and my heart, even memories of other paintings, and all of that is
always changing. Clouds and water, seaweed and rocks, even lilies-they're what
grab me."
John Imber, Untitled
Maine Stream: Recent Paintings by David C. Driskell
September 4 - 27, 2008 Exhibition opens Thursday September 4th
with a talk by the artist at 4:30 p.m.
Greenhut Galleries is pleased to announce an upcoming exhibition of new
works by renowned painter, collector, author and historian David C. Driskell.
David is a leading authority on African American art and the black artist in
American society. His contributions to scholarship in the history of art include
many books and more than 40 catalogs for exhibitions he has curated.
Essays on the subject of African American art have appeared in major
publications throughout the world. David's paintings are in the collections of
major museums throughout the world including the National Gallery of Art, the
High Museum of Art, the Corcoran Gallery, the Whitney Museum of American
Art, Yale University Art Gallery, and the Portland Museum of Art.
September 4 - 27, 2008 Exhibition opens Thursday September 4th
with a talk by the artist at 4:30 p.m.
Greenhut Galleries is pleased to announce an upcoming exhibition of new
works by renowned painter, collector, author and historian David C. Driskell.
David is a leading authority on African American art and the black artist in
American society. His contributions to scholarship in the history of art include
many books and more than 40 catalogs for exhibitions he has curated.
Essays on the subject of African American art have appeared in major
publications throughout the world. David's paintings are in the collections of
major museums throughout the world including the National Gallery of Art, the
High Museum of Art, the Corcoran Gallery, the Whitney Museum of American
Art, Yale University Art Gallery, and the Portland Museum of Art.
Night Mask - David Driskell collage,
encaustic 12 x 9 inches
encaustic 12 x 9 inches
Phil Schirmer, Noon
| Gallery Notes September-October 2008 |
News of the Visual Arts
New England edition
Subtraction of the Distraction and Landlocked at
Susan Maasch Fine Art
These two exhibits highlight September and October at this favorite Portland
art venue.
Subtraction of the Distraction features abstract works on paper. Landlocked is
about the contemporary landscape.
Susan Maasch Fine Art
These two exhibits highlight September and October at this favorite Portland
art venue.
Subtraction of the Distraction features abstract works on paper. Landlocked is
about the contemporary landscape.
Ken Morgan Untitled Pigment Print
Brian Chun Two bridges oil on canvas
___________________________________
We will also feature Landlocked: The
Contemporary Landscape, paintings,
prints, and mixed media that represent and
depict the landscape in its many forms.
From realism to conceptualism to
abstraction, Landlocked: The
Contemporary Landscape will showcase
exceptional work from artists: Eric Aho,
Rush Brown, Brian Chung, June Grey, Mary
B. Harrington, Nancy Nichols, Deborah
Randall, Kathleen Robbins, Willa
Vennema, Shaio Ping Wang, and Titus
Welliver.
Contemporary Landscape, paintings,
prints, and mixed media that represent and
depict the landscape in its many forms.
From realism to conceptualism to
abstraction, Landlocked: The
Contemporary Landscape will showcase
exceptional work from artists: Eric Aho,
Rush Brown, Brian Chung, June Grey, Mary
B. Harrington, Nancy Nichols, Deborah
Randall, Kathleen Robbins, Willa
Vennema, Shaio Ping Wang, and Titus
Welliver.
The power of abstract works relies on
the intuitive response of the viewer.
Whether the work is simple or complex,
abstraction has an ability to tap into our
subconscious and elicit an emotional
reaction from the viewer.
The works in Subtraction of the
Distraction: Abstract Works on Paper
are tied together because they are works
on paper- incorporating a range of
techniques: printmaking, painting, or
digital process.
Several of these artists are well known
for their paintings and sculpture, but
when given the opportunity to create
works on paper, they create objects that
are tactile as well as refined. This
exhibition will feature works by: Robert
Mangold is considered one of the
preeminent American modern
the intuitive response of the viewer.
Whether the work is simple or complex,
abstraction has an ability to tap into our
subconscious and elicit an emotional
reaction from the viewer.
The works in Subtraction of the
Distraction: Abstract Works on Paper
are tied together because they are works
on paper- incorporating a range of
techniques: printmaking, painting, or
digital process.
Several of these artists are well known
for their paintings and sculpture, but
when given the opportunity to create
works on paper, they create objects that
are tactile as well as refined. This
exhibition will feature works by: Robert
Mangold is considered one of the
preeminent American modern
Shaio Ping, Blossom acrylic collage
and paper cut on panel
and paper cut on panel
Mangold received his BFA and MFA from Yale
and his work is included in many museum collections such as the MoMA,
the Whitney, and the Tate Collection in London.
Ken Morgan creates gestural drawings and prints that recall his
childhood spent as part of his father’s circus act. Morgan has exhibited in
some of the nations most prestigious art galleries including O.K.
Harris in New York, Marfa, Maine Center for Contemporary Art, and the JFK
Center for Performing Arts.
Also included in this exhibition will be Meagan Anderson, Al Held,
Penelope Jones, Sol LeWItt, Elizabeth Murray, Nancy Simmonds, and Terry
Winters.
and his work is included in many museum collections such as the MoMA,
the Whitney, and the Tate Collection in London.
Ken Morgan creates gestural drawings and prints that recall his
childhood spent as part of his father’s circus act. Morgan has exhibited in
some of the nations most prestigious art galleries including O.K.
Harris in New York, Marfa, Maine Center for Contemporary Art, and the JFK
Center for Performing Arts.
Also included in this exhibition will be Meagan Anderson, Al Held,
Penelope Jones, Sol LeWItt, Elizabeth Murray, Nancy Simmonds, and Terry
Winters.
Landscape painting has a rich history in Maine and we are excited to present
our artists unique interpretation of the subject. This is a show that promises
to NOT just be “another Maine landscape show” but will provide fresh and
fascinating work that surveys the subject of landscape from traditional to edgy.
our artists unique interpretation of the subject. This is a show that promises
to NOT just be “another Maine landscape show” but will provide fresh and
fascinating work that surveys the subject of landscape from traditional to edgy.
Terry Winters Untitled Pigmented digital
output
output
Susan Maasch Fine Art 29 Forest Avenue Portland, Maine
04101
04101
G a l l e r y 1 7 0 123 Borland Hill Road Damariscotta Mills
Nobleboro, ME
Nobleboro, ME
Three: Nancy Freeman, Francis Kidder,
Diane Langley at Gallery 170 now - September 21 2008
Frances Kidder holds a B.A. in Art History from Vassar College and an MA.T from
from U.Mass. She has done additional art study at the Vermont Studio Centre and
the Boston Museum School. She divides her time between South Bristol ME and
Williamsburg MA and has made art for 30 years. Besides landscape she often
paints human and animal figures, but her primary interest is in creating light and
space through color. Her work can be seen at The Oxbow Gallery in
Northampton, MA, as well as Gallery 170.
Diane Langley at Gallery 170 now - September 21 2008
Frances Kidder holds a B.A. in Art History from Vassar College and an MA.T from
from U.Mass. She has done additional art study at the Vermont Studio Centre and
the Boston Museum School. She divides her time between South Bristol ME and
Williamsburg MA and has made art for 30 years. Besides landscape she often
paints human and animal figures, but her primary interest is in creating light and
space through color. Her work can be seen at The Oxbow Gallery in
Northampton, MA, as well as Gallery 170.
Painters ~ 2008 now - November 9th
11th Annual Invitational Outdoor Sculpture Exhibit
now - October 19th
11th Annual Invitational Outdoor Sculpture Exhibit
now - October 19th
Mill Brook Gallery & Sculpture Garden 236 Hopkinton Road,
Concord, NH 03301.
Concord, NH 03301.
___________________________________
Stadler Gallery 225 Main Street, Kingfield, Maine 04660
Michael Branca and Forrest Meader at Stadler Gallery
The STADLER GALLERY
will close this year’s
summer season with an
exhibition of two Maine
painters, Michael Branca
from Bath and Forrest
Meader from Skowhegan.
Both exhibitions will be on
view from September 1
through October 13, 2008.
Branca will show
selections from three
bodies of recent work.
The Bouquet Series
presents unusual
variations on traditional
genres of painting, such
as bouquet still lifes and
reclining figures. One
may find a paper bag full
of newspapers, an
arrangement of clip lights
in a vase, or van Gogh’s
sunflowers transplanted
into a blender. Plein Air
oil paintings are painted
on site in locations
throughout Maine,
will close this year’s
summer season with an
exhibition of two Maine
painters, Michael Branca
from Bath and Forrest
Meader from Skowhegan.
Both exhibitions will be on
view from September 1
through October 13, 2008.
Branca will show
selections from three
bodies of recent work.
The Bouquet Series
presents unusual
variations on traditional
genres of painting, such
as bouquet still lifes and
reclining figures. One
may find a paper bag full
of newspapers, an
arrangement of clip lights
in a vase, or van Gogh’s
sunflowers transplanted
into a blender. Plein Air
oil paintings are painted
on site in locations
throughout Maine,
Michael Brancs, Reclining Root
Forrest Meader, Gallery
including works from a two week painting expedition in the Maine mountains.
And finally, in Narrative Paintings Branca addresses the relationship between
humans and nature in fantastical and conceptual pieces of work.
In his exhibition “Homage and Exploration” Meader explores his educational
background in anthropology at the University of Maine and Arizona. He identifies
with the South Pacific wood carver whose mind set is to work in partnership with
his materials and create something together.
There will be a reception for the artists on Saturday, September 27, from 2 to 4
pm.
And finally, in Narrative Paintings Branca addresses the relationship between
humans and nature in fantastical and conceptual pieces of work.
In his exhibition “Homage and Exploration” Meader explores his educational
background in anthropology at the University of Maine and Arizona. He identifies
with the South Pacific wood carver whose mind set is to work in partnership with
his materials and create something together.
There will be a reception for the artists on Saturday, September 27, from 2 to 4
pm.
Frances Kidder, Arts and Industry 2007
acrylic on paper
acrylic on paper
"When not in Maine, I live beside the Mill
River in western Massachusetts, and it
follows me to my studio in an old factory 5
miles downstream. My commute gives me
glimpses of this ever-changing thing, a bit of
sky on its way to the sea. In fall it is a tapestry
of green, red, and gold. In winter it turns to
molten pewter. In spring, fed by melting
snows and heavy rains, it rises up out of its
banks like an angry "brown god." In summer
it hushes to a murmur.
"My Mill River used to power many mills until
it burst through a shoddily built earthen dam
in 1874, destroying most of the factories and
killing 140 people.
River in western Massachusetts, and it
follows me to my studio in an old factory 5
miles downstream. My commute gives me
glimpses of this ever-changing thing, a bit of
sky on its way to the sea. In fall it is a tapestry
of green, red, and gold. In winter it turns to
molten pewter. In spring, fed by melting
snows and heavy rains, it rises up out of its
banks like an angry "brown god." In summer
it hushes to a murmur.
"My Mill River used to power many mills until
it burst through a shoddily built earthen dam
in 1874, destroying most of the factories and
killing 140 people.
It’s hard to believe that the river I see today could have so drastically changed
the landscape and the course of local human enterprise. The spooky
juxtaposition of this wild thing and the human structures so trustingly built
beside it, was part of my attraction to it as subject matter.
"To make these paintings, I began by immersing myself in the plein air chaos of
riverine detail: trees, rocks, rapids, eddies, reflections, more trees. At the same
time I looked for a unifying structure lurking in repeated lines, shapes and
colors. When it was too cold to paint outdoors, I worked in my studio from
drawings and photographs," Kidder says.
Diane S. Langley of Westport Island received an AS from the University of Maine
Augusta in 1992, a B.F.A., University of Southern Maine, Gorham, in 1994 and
an MFA in Visual Arts, Vermont College, Montpelier, Vermont in 1996.
"My work is an ongoing exploration into creating a visual language. I am
interested in images, images that speak to the rural landscape where I live, the
daily walks in the woods, the way the land meets the sea, the old apple trees
that still inhabit the land. I try to live a simple life here on an island off the coast
of Maine.
the landscape and the course of local human enterprise. The spooky
juxtaposition of this wild thing and the human structures so trustingly built
beside it, was part of my attraction to it as subject matter.
"To make these paintings, I began by immersing myself in the plein air chaos of
riverine detail: trees, rocks, rapids, eddies, reflections, more trees. At the same
time I looked for a unifying structure lurking in repeated lines, shapes and
colors. When it was too cold to paint outdoors, I worked in my studio from
drawings and photographs," Kidder says.
Diane S. Langley of Westport Island received an AS from the University of Maine
Augusta in 1992, a B.F.A., University of Southern Maine, Gorham, in 1994 and
an MFA in Visual Arts, Vermont College, Montpelier, Vermont in 1996.
"My work is an ongoing exploration into creating a visual language. I am
interested in images, images that speak to the rural landscape where I live, the
daily walks in the woods, the way the land meets the sea, the old apple trees
that still inhabit the land. I try to live a simple life here on an island off the coast
of Maine.
"I try for a slower pace that gives me time
to process what I come into contact with
on a daily basis. I am a gatherer of
information whose meaning unfolds over
time," Langley says.
"I work in both oils and encaustics
making landscape abstractions by
keeping to a spare pallet and distilling
down to the energy and emotion that drew
me into the image in the first instance."
she continues.
Some of Langley’s recent awards, honors
and exhibitions include: On the Edge,
Montserrat College of Art, Beverly, MA
2008; Wax It, Mill Pond Gallery, New
Hampshire,2008 and The Diptych Project,
The Whitney Art Works, Portland, 2008.
to process what I come into contact with
on a daily basis. I am a gatherer of
information whose meaning unfolds over
time," Langley says.
"I work in both oils and encaustics
making landscape abstractions by
keeping to a spare pallet and distilling
down to the energy and emotion that drew
me into the image in the first instance."
she continues.
Some of Langley’s recent awards, honors
and exhibitions include: On the Edge,
Montserrat College of Art, Beverly, MA
2008; Wax It, Mill Pond Gallery, New
Hampshire,2008 and The Diptych Project,
The Whitney Art Works, Portland, 2008.
Diane Langley, Memory III 2008
encaustic on panel 14 x 11"
encaustic on panel 14 x 11"
Nancy Freeman received an Associate Degree from Sarah Lawrence College,
Bronxville in 1946 and later studied art at the Metropolitan Museum of Art, New
York University , and Bucks County Community College. In 1970 she received
a BFA from Moore College of Art and Design, Philadelphia, PA..
After many summers in Maine, she became a year-round resident in 1983 and
formed the Round Top Center for the Arts in Damariscotta. She served Round
Top as Artistic Director until 2002.
Printmaking and painting have become Freeman’s focus of exploration. Color
is a great challenge along with structure and order. Abstraction in the visual
arts seems as natural to her as the sound of music and color touches the
heart of the matter.
"My work is experimental and exploratory. A lifetime of learning, studio
discipline and practical thought has allowed me a certain freedom of
movement within my art. Primary influences have been music, oriental thought
and gardening. I strive for clarity," Freeman said.
Freeman will be showing new work, a series of small collages dedicated to
her friend Jody McCorkle who passed away last year.
Starting August 20th and running
until September 15th, the Mulford
Gallery will host a multi-artist show
of Sea, Land, and Maine Scapes.
The show will include all medias
and should appeal to all senses.
Beginning September 17th, the
gallery will be filled with a wide array
of colorful and dynamic works as
the show entitled "Artists' Choices"
gets underway. The questions of
'which is the favorite'? , 'which was
the hardest?', which means the
most?' will be answered by all
contributing artists.
until September 15th, the Mulford
Gallery will host a multi-artist show
of Sea, Land, and Maine Scapes.
The show will include all medias
and should appeal to all senses.
Beginning September 17th, the
gallery will be filled with a wide array
of colorful and dynamic works as
the show entitled "Artists' Choices"
gets underway. The questions of
'which is the favorite'? , 'which was
the hardest?', which means the
most?' will be answered by all
contributing artists.
Island Flat, by Judy Nuse Belasco
Multi Artist Show at Mulford Gallery in Rockland, ME
Mulford Gallery 313 Main Street, Rockland ME 04841
___________________________________
___________________________________
Kennebec Valley Art Association Receives $6,500
Grant from Maine Community Foundation
The Kennebec Valley Art Association has received a $6,500 grant from the Kay E.
Dopp Fund of the Maine Community Foundation to support an updated strategic
plan for the Kennebec Valley Art Association for 2009-2014 and also to provide for
technical consultants for the preconstruction and planning phase of a proposed
affordable artist housing project above the Harlow Gallery in Hallowell.
“The KVAA board of directors came up with the organization’s first ever strategic
plan in 2004, and as a result we have experienced an exciting period of growth
and change.” Said Deborah Fahy, Executive Director of the Kennebec Valley Art
Association. “We need to build the capacity of the KVAA so that the organization is
adequate to the challenges that come with growth.
"Our directors’ first responsibility is to our fiscal stability; to ensure our ability to
directly serve and support our membership; and our obligation to continue to
produce quality arts programming to benefit the entire community. Strategic
planning will help us to meet these goals.
On the proposed affordable artist housing project, Fahy said, “Affordable housing
is a great need in Hallowell, and we believe the arts can be part of a creative
solution. The final project will provide us with a source of income while also
serving artists.”
The Kennebec Valley Art Association is a membership-based non-profit art
association. Its mission is to promote the arts and artists of central Maine. The
art association has owned and operated the Harlow Gallery at 160 Water Street in
downtown Hallowell since 1963.
For 25 years the Maine Community Foundation has been partnering with donors
and community groups to strengthen Maine through grants and scholarships.
Grant from Maine Community Foundation
The Kennebec Valley Art Association has received a $6,500 grant from the Kay E.
Dopp Fund of the Maine Community Foundation to support an updated strategic
plan for the Kennebec Valley Art Association for 2009-2014 and also to provide for
technical consultants for the preconstruction and planning phase of a proposed
affordable artist housing project above the Harlow Gallery in Hallowell.
“The KVAA board of directors came up with the organization’s first ever strategic
plan in 2004, and as a result we have experienced an exciting period of growth
and change.” Said Deborah Fahy, Executive Director of the Kennebec Valley Art
Association. “We need to build the capacity of the KVAA so that the organization is
adequate to the challenges that come with growth.
"Our directors’ first responsibility is to our fiscal stability; to ensure our ability to
directly serve and support our membership; and our obligation to continue to
produce quality arts programming to benefit the entire community. Strategic
planning will help us to meet these goals.
On the proposed affordable artist housing project, Fahy said, “Affordable housing
is a great need in Hallowell, and we believe the arts can be part of a creative
solution. The final project will provide us with a source of income while also
serving artists.”
The Kennebec Valley Art Association is a membership-based non-profit art
association. Its mission is to promote the arts and artists of central Maine. The
art association has owned and operated the Harlow Gallery at 160 Water Street in
downtown Hallowell since 1963.
For 25 years the Maine Community Foundation has been partnering with donors
and community groups to strengthen Maine through grants and scholarships.
___________________________________
A summer resident of Maine,
Professor Driskell intitially studied at
the Skowhegan School of Painting
and Sculpture in Maine in 1953. His
affiliation with the program and other
Maine institutions including MECA,
Bates, Bowdoin and Colby Colleges
is ongoing. David received his
undergraduate degree in art at
Howard University (1955), a Masters
in Fine Arts degree from Catholic
University (1962) and ten honorary
doctoral degrees. He served as the
Chair of the Art Department at the
University of Maryland from
1978-1983. Upon his retirement, the
David C. Driskell Center for the Study
of the Visual Arts and Culture of
African Americans and the African
Diaspora was established providing
an intellectual home for artists,
museum professionals, art
administrators, and black scholars.
Professor Driskell intitially studied at
the Skowhegan School of Painting
and Sculpture in Maine in 1953. His
affiliation with the program and other
Maine institutions including MECA,
Bates, Bowdoin and Colby Colleges
is ongoing. David received his
undergraduate degree in art at
Howard University (1955), a Masters
in Fine Arts degree from Catholic
University (1962) and ten honorary
doctoral degrees. He served as the
Chair of the Art Department at the
University of Maryland from
1978-1983. Upon his retirement, the
David C. Driskell Center for the Study
of the Visual Arts and Culture of
African Americans and the African
Diaspora was established providing
an intellectual home for artists,
museum professionals, art
administrators, and black scholars.
In 1976, Professor Driskell curated the landmark exhibit "Two Centuries of
Black American Art: 1750-1950" which laid the foundation for the field of African
American Art History. Since 1977, Professor Driskell has worked as the
curator of the Camille O. and William H. Cosby Jr. Collection of Fine Arts. In
1995, Driskell was asked by President Bill Clinton to choose a work from an
African American artist to be included in the art collection at the White House.
Five years later, Clinton awarded him the National Humanities Medal.
Black American Art: 1750-1950" which laid the foundation for the field of African
American Art History. Since 1977, Professor Driskell has worked as the
curator of the Camille O. and William H. Cosby Jr. Collection of Fine Arts. In
1995, Driskell was asked by President Bill Clinton to choose a work from an
African American artist to be included in the art collection at the White House.
Five years later, Clinton awarded him the National Humanities Medal.
The center is committed to collecting, documenting, and presenting African
American art as well as replenishing and expanding studies in the field.
American art as well as replenishing and expanding studies in the field.
___________________________________
The strong artistic talents of such
well-known artists as Ken Beck,
Phil Schirmer, Mimo Gordon Riley,
Siri Beckman, Edith de Chiara and
Steve Alpert continue to hang in
other parts of the gallery, acting as
magnets , drawing in the
customers.
well-known artists as Ken Beck,
Phil Schirmer, Mimo Gordon Riley,
Siri Beckman, Edith de Chiara and
Steve Alpert continue to hang in
other parts of the gallery, acting as
magnets , drawing in the
customers.
New Name for The Art Gallery, University of New
Hampshire,
DURHAM, NH - The Art Gallery at the University of New Hampshire has announced
that it has changed its name and street address to the Museum of Art , Paul
Creative Arts Center , 30 Academic Way , effective immediately. The new name
was chosen with the unanimous support of the Museum’s Board of Advisors and
approval from Dr. Mark Huddleston, president of the University, to more accurately
reflect the Museum’s mission to collect works of art, support academic teaching
and scholarship, and present outstanding exhibitions and public programs for the
University community and residents of New Hampshire . The road name change
(formerly College Road ) was instituted by the University’s Office of Campus
Planning as part of a larger effort to improve traffic flow and visitors’ experience on
campus.
The Museum of Art cares for a permanent collection of 1,500 works of art, including
works by artists of world renown—Rembrandt, Picasso, and Andy Warhol—as well
as artists important to New Hampshire—John Hatch, Edwin and Mary Scheier, and
Lotte Jacobi. The majority of the Museum’s collection—paintings, drawings, prints,
photographs, ceramics, and sculpture—has been donated by artists, University
alumni, faculty emeriti, members of the Museum’s Board of Advisors, and others.
The collection emphasizes nineteenth- and twentieth-century prints and drawings,
including nearly two hundred Japanese woodblock prints, and art from the New
England region.
Its changing exhibitions span a range of periods, styles, and media, featuring
works by art faculty members, alumni, and students, as well as works drawn from
private collections, other museums throughout the Northeast, and the Museum’s
permanent collection. Notable exhibitions have included a major series focusing
on New Hampshire’s artistic heritage (Isles of Shoals, White Mountains, art
colonies of Cornish and Dublin, NH Folk Art, and NH traditions in wood), as well
as exhibitions of the etchings and engravings of Rembrandt and Dürer, 16th-
century Italian prints, and Japanese woodblock prints.
Since 1960, the Museum of Art has been housed in the Paul Creative Arts Center
on the Durham campus of the University of New Hampshire , where, according to
director Vicki C. Wright, “the Museum has been an integral part of the University’s
commitment to a broad liberal arts education. For almost 50 years, it has served
as a valuable resource for students, scholars, and visitors alike. The name
change will help to clearly define our identity as an educational institution that
collects, cares for, exhibits, and interprets works of art. It is also in alignment with
our goal to make our collections, exhibitions, and public programs more widely
known.”
The Museum’s 2008-09 exhibition season will begin on September 5, from 5-7 p.
m., with a public reception for the exhibitions, Conley Harris: Lyrical Tableaux and
Art Faculty Review: Benjamin Cariens, Brian Chu, Craig Hood, and Maryse Searls
McConnell.
Hampshire,
DURHAM, NH - The Art Gallery at the University of New Hampshire has announced
that it has changed its name and street address to the Museum of Art , Paul
Creative Arts Center , 30 Academic Way , effective immediately. The new name
was chosen with the unanimous support of the Museum’s Board of Advisors and
approval from Dr. Mark Huddleston, president of the University, to more accurately
reflect the Museum’s mission to collect works of art, support academic teaching
and scholarship, and present outstanding exhibitions and public programs for the
University community and residents of New Hampshire . The road name change
(formerly College Road ) was instituted by the University’s Office of Campus
Planning as part of a larger effort to improve traffic flow and visitors’ experience on
campus.
The Museum of Art cares for a permanent collection of 1,500 works of art, including
works by artists of world renown—Rembrandt, Picasso, and Andy Warhol—as well
as artists important to New Hampshire—John Hatch, Edwin and Mary Scheier, and
Lotte Jacobi. The majority of the Museum’s collection—paintings, drawings, prints,
photographs, ceramics, and sculpture—has been donated by artists, University
alumni, faculty emeriti, members of the Museum’s Board of Advisors, and others.
The collection emphasizes nineteenth- and twentieth-century prints and drawings,
including nearly two hundred Japanese woodblock prints, and art from the New
England region.
Its changing exhibitions span a range of periods, styles, and media, featuring
works by art faculty members, alumni, and students, as well as works drawn from
private collections, other museums throughout the Northeast, and the Museum’s
permanent collection. Notable exhibitions have included a major series focusing
on New Hampshire’s artistic heritage (Isles of Shoals, White Mountains, art
colonies of Cornish and Dublin, NH Folk Art, and NH traditions in wood), as well
as exhibitions of the etchings and engravings of Rembrandt and Dürer, 16th-
century Italian prints, and Japanese woodblock prints.
Since 1960, the Museum of Art has been housed in the Paul Creative Arts Center
on the Durham campus of the University of New Hampshire , where, according to
director Vicki C. Wright, “the Museum has been an integral part of the University’s
commitment to a broad liberal arts education. For almost 50 years, it has served
as a valuable resource for students, scholars, and visitors alike. The name
change will help to clearly define our identity as an educational institution that
collects, cares for, exhibits, and interprets works of art. It is also in alignment with
our goal to make our collections, exhibitions, and public programs more widely
known.”
The Museum’s 2008-09 exhibition season will begin on September 5, from 5-7 p.
m., with a public reception for the exhibitions, Conley Harris: Lyrical Tableaux and
Art Faculty Review: Benjamin Cariens, Brian Chu, Craig Hood, and Maryse Searls
McConnell.
___________________________________
Landmarks – Scenes From The Seacoast September 6- November 1, 2008 Opening Reception: Sat. Sept. 6, 5-7pm
This exhibit features the works of Dean Diggins and Anthony Montanino
This exhibit features the works of Dean Diggins and Anthony Montanino
Above left:Tugboats Oil Anthony Montanino Above right: Nubble Light Oil Dean Diggins
Haley Art Gallery 178 Haley Rd. Kittery, ME 03904
artists; his paintings and prints consist of curvilinear lines that
transect colored geometric shapes.
transect colored geometric shapes.
__________________________________________________________________________________________________________________________________
_______________________________________________________________________________________________________________________________________