Art and Photography Blog

Contemplative Show at Montserrat - Many Kinds of Nothing

Here is an interesting art show, Many Kinds of Nothing, to take in on the North Shore of Boston. As the site states, “The sculptures and photographs in Many Kinds of Nothing represent the act of meditation. They inspire contemplation with no specific narrative or objective and unveil things that are normally overlooked. This exhibit calls for viewers to physically and conceptually engage with the artwork and be in the moment.” The illustrations look very interesting and evoke the theme. I have been meaning to get up there as I know one of the artists and certainly plan to see it before it ends.

Randi Hopkins of the Boston Phoenix wrote, "Subtle, largely non-representational works explore the kind of contemplative spiritual states that we could all use a bit more of in our lives, in the understated “MANY KINDS OF NOTHING,” She goes to say on the works on display "promise an enlightening experience and a bit of respite from the clatter of the usual. This show looks like a sleeper, in the best sense of the word."

Many Kinds of Nothing is at the Montserrat gallery at the Montserrat College of Art, 23 Essex Street
Beverly, MA. The show runs until October 26. The gallery is open M, T, W, and F 10-5, Th 10-8, and Sat 12-5. The artists are: Roni Horn (New York), Nancy Murphy Spicer (Bristol, UK), Dan Senn (Portland, OR) and Liz Sweibel (Brooklyn, NY). It is curated by Shana Dumont. My friend Liz Sweibel will give a public talk on her work on October 15.

Van Gogh at Night – I Hope to Get There

Here is a great sounding show at the Museum of Modern Art that I hope to see before it closes on January 5. As the new York Times wrote in Nocturnal van Gogh, Illuminating the Darkness, “Instead of the usual are-we-done-yet marathon followed with ordeal by gift shop, it quietly displays 23 paintings, 9 drawings and several letters by van Gogh in six intimate galleries.” In the meanwhile, you can see the slide show of parts of Van Gogh at Night exhibit. I especially liked the new ones to me, The Dance Hall in Arles” (1888) “Landscape with Wheat Sheaves and Rising Moon” (1889)

There are some familiar ones and ones that I have never seen before. The NYT review goes on to say,” What we see here is an artist with no time to lose, who gained crucial inspiration and information from the dusk, the twilight hours and the night with their constantly changing moons and relatively stable stars followed by the dawn’s first glimmers. They challenged his visual perception, stirred his imagination, expanded his palette and kept him close to nature’s cycles and mysteries.”

This is something that I like to explore in photography, and when I have time I want go back to in painting. It made me realize that all my painting, except one, Painting of St. Paul Street in Quebec in the Winter, has been done in regular day light. It is the transitions found in the change to night, night itself, and the beginning of the day offers so of the most interesting qualities to consider. Van Gogh does am amazing job handling these changes in a variety of ways.

Sam Abell's The Life of a Photographer from National Geographic

I was honored when National Geographic asked me to review The Life of a Photographer – Sam Abell on my Art and Photography blog. I have been a long time subscriber to National Geographic and always enjoyed their photography. It sometimes seems simple and then as you look closer you can see the wonderful compositions that take most pictures beyond mere illustrations.

I was even more pleased when I got their package and opened the book. In this book, Sam Abell shares some of his best images and asks the question, “what gives life to a photograph?’ This I something that I always struggle with so I explored the book carefully. The pictures include works on assignment to National Geographic and some form his personal collection, appearing for the first time. There are many examples of two views of the same subject.

There are also series. I especially liked, The Approach and Departure of Gerald Mack, Little Belt Mountains, Montana. Here you see a rider and his dog appear on a snowy white out field. They come close enough to get a good view of all three and then ride off into the white out. I have been In similar conditions in Wyoming and it really evoked the feeling of isolation that these conditions can create, and yet you get a very personal look at the participants on this stage. .

When you see two or more images you can see how small differences effect the same view. There is a lot of commentary. Sam writes, “I was taught to see settings by my father on our photographic outings together. He was an amateur so under no pressure to produce. I never saw him force a photograph. Instead, I’d watch him size up situations, then wait.”

His pictures show this patience. It is an approach that I strive to take when I have time but too often I am rushed. Henri Cartier-Bresson talks about finding stage and then waiting for the scene to unfold. Sam takes us to stages all around the world. I especially liked his images of rural America.

But then Breakfast at Musgrave Station in Queensland Australia is a marvelous still life of beans and bread on a light blue formica counter. The bend of colors makes me want to paint it as I have been working through similar themes. Sam achieves a great blend of color, texture, and shading that gets stronger the more you look at it. I highly recommend this book for both its pictures and its text. You will go back to it often whether you are a photographer or someone simply who lies to both at pictures.

Cambridge Art Association 64th Annual Fall Salon

The Cambridge Art Association is now running its 64th annual Fall Salon in two locations. There are some works at the Kathryn Schultz Gallery and offices: 25 Lowell St. Cambridge MA 02138 
hours: Tuesday through Saturday 11am to 5pm. Also other works are at the university place gallery: 124 Mt. Auburn St. Cambridge MA 02138 
hours: Monday through Friday 9am to 6pm and Saturday 9am to 1pm. I have a painting at the Kathryn Schultz Gallery. It is a 24” by 30” acrylic as seen below.

The Cambridge Art Association (CAA), began in 1944 when some artists got together to auction their art as a way of contributing to the war effort Today, it consists of over 500 juried artist members - photographers, printmakers, painters, sculptors, textile artists, and glass makers - and a supporting group of Friend Members. The purpose of the organization is to exhibit art, support local artists, and create opportunities for art education and appreciation. I am pleased to be part of this group and have learned a lot from my fellow members.