Apr
13
to Nov 3

Pastoral Present

Pastoral Present is a project in which visual artist Wilhelm Neusser will subtly, thoughtfully alter the display of the Fruitlands Museum’s permanent collection of Hudson River School landscape paintings with new paintings he made specifically for the space. The first presentation will appear with the opening of our main season on Saturday, April 13, with two new works. The second shift will be shared in early September 2019.

A New View features more than fifty nineteenth-century landscapes by Hudson River School painters such as Albert Bierstadt, Thomas Cole, and Frederic Church. Neusser, a German-born painter whose landscape paintings are widely exhibited throughout Europe and the United States, has long been influenced by nineteenth-century landscape painting, which celebrated and romanticized nature and landscape at a time when dramatic change, such as industrialization, was underway.

The rich colors and captivating imagery of Neusser's paintings incorporate contrasting brushstrokes, some of which streak the scene in what the artist calls a dialectic process of healing and hurting the imagery. Pastoral Present is part of a new body of work that highlights the enduring influence of the Hudson River School –and how the artists’ concerns about highlighting and protecting our natural resources are relevant today.

Shana Dumont Garr, Curator

Related Events: Talk by Art Historian Erin Corrales-Diaz and Book Launch on Saturday, November 2

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Jul
15
to Sep 15

Lang Leve Rembrandt

Woods (2015/18) by Wilhelm Neusser has been selected for “Long Live Rembrandt” at the Rijksmuseum in Amsterdam. The exhibition showcases Rembrandt's impact on artists today across all media, genres and styles.

Painters of the Dutch Golden Age are a constant source of inspiration for Neusser as he envisions contemporary landscape. Rembrandt’s The Stone Bridge, held by the Rijksmuseum, has hung for years as a postcard in Neusser’s studio. “Not in order to copy or imitate what Rembrandt was able to do with paint on panel (I couldn’t),” said Neusser, “but in order to draw from his incredible play with dark and light, the sublime mood and atmosphere in this painting.” 

Around the time Neusser began painting Woods, he became enamored of a series of online lectures on Rembrandt by John Walsh, especially the art historian's emphasis on the Dutch master's technique and surface treatment. The forest landscape in Woods was determined by the nature of the painting material itself. According to Neusser, “the topography of the subject matter and the canvas became one”.

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Jun
20
to Aug 18

Picnic

Abigail Ogilvy Gallery is proud to present Picnic, a group exhibition featuring Mishael Coggeshall-Burr, Wilhelm Neusser, Anna Schuleit Haber, Amanda Wachob and Natalia Wrobel. All five artists focus on depicting places or moments in time infused with emotion, memories and personal experience. The works in the exhibition speak to their personal history, especially related to location. Website

Photo: Gallery

Photo: Gallery

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Mar
14
to Apr 21

FIGURE FOCUS

  • Northeastern Gallery 360 (map)
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What makes the corporeal in art such a seductive subject? Why is figuration in painting so hot right now? Figure Focus aims to address these questions by examining the work of 15 contemporary painters approaching figurative work from new and exciting perspectives. This exhibition is an invitation to investigate multiple facets of the figure including psychological, societal, and formalistic considerations. The paintings can be viewed aesthetically and conceptually to inspire, confirm, and unmoor historic and current ideas of figurative painting. Figure Focus has been curated by Boston-based painter Andrew Fish.

Artists include: Dana Clancy, Sean Downey, Andrew Fish, Ariel Freiberg, Ian Gage, Greg Horwitch, Joel Janowitz, Lavaughan Jenkins, Catherine Kehoe, Sharon Lacey, Susan Lichtman, Sarah Lubin, Wilhelm Neusser, Hiba Schahbaz, Molly Segal.

Website

Pink Balkonia  (1607), 2016, Oil on linen, 36”x44”, Photo: Studio

Pink Balkonia (1607), 2016, Oil on linen, 36”x44”, Photo: Studio

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Oct
3
to Oct 28

Nocturne

  • Abigail Ogilvy Gallery, Boston (map)
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A group exhibition featuring artwork by:

Eric Aho
Christiane Corcelle
Keenan Derby
Daniel Herr
Ariel Basson Freiberg
Wilhelm Neusser
Anna Schuleit Haber

Opening Reception: Friday, October 5th 6-8 pm

Website Artist Spotlight

Nocturne/Doublemoon (1729), 2017, Oil on linen, 48"x66", Photo: C. Yeager

Nocturne/Doublemoon (1729), 2017, Oil on linen, 48"x66", Photo: C. Yeager

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Sep
15
to Oct 13

FIELD TRIP

  • Galerie Knecht und Burster, Karlsruhe, Germany (map)
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vaccinium macrocarpon

Die großfrüchtige Moosbeere, wahrscheinlich bekannter unter dem Namen Cranberry, ist eine runde, in changierenden Rottönen auftretende Frucht, die an niedrigwüchsigen Büschen gedeiht. Die Pflanze bevorzugt torfhaltige Böden und tritt daher in feuchten, sumpfigen Gebieten und Mooren auf. In Nordamerika wird diese Beere im grossen Stil landwirtschaftlich kultiviert. Bei der Nassernte werden im Herbst die beckenartig angelegten Felder (engl. Bogs) geflutet, so dass die Büsche unter Wasser liegen und die Beeren als roter Teppich an die Oberfläche treiben, wo sie von Erntehelfern, die bis zur Hüfte im Wasser stehen, zusammengetrieben und abgeschöpft werden. 

Ausgehend von dieser farbenfrohen und zugleich surreal anmutenden Szenerie hat der aus Köln stammende und heute in Boston lebende Maler Wilhelm Neusser eine Serie von Bildern geschaffen, die über die romantische Landschaftsdarstellung hinaus weisen. Bedrohliche Himmel und dramatisches Licht lassen eine endzeitliche Stimmung aufkommen. Verloren und vereinsamt wirken die Figuren, die in den gefluteten Feldern stehen, als steckten sie fest und wüssten nicht wohin und wie weiter. Neusser puscht die Pastorale in Richtung Apokalypse, die Ernteszene mutiert zum ökologischen und sozialen Ernsfall und offenbart die Ängste unserer Gegenwart. 

 Website

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Sep
1
to Oct 6

Sun Worship and Solar Machines

  • Fort Point Arts Community, Boston (map)
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An opening reception will be held September 6, 6-8pm.

Sun Worship and Solar Machines presents sixteen artists working in a range of media to investigate the contours of light. Seemingly a recent phenomenon, solar energy is a power that’s been harnessed for centuries, and this show explores the sun’s wonder and potency. 

No matter the mythology, there's a full list of solar deities, each with its own radiance. Though we avert our gaze from the sun, we are watching for the glimmer of the fish scale and fernseed, waiting for its presence on water, wading wider and deeper then coming again to the reflective surface.  From dawn until sun-down, we put on charms with golden splendor, wishing for pity from the sun-gods, seeking deified brightness.  We trace the gold fleur-de-lis on the solar crown, and seek out the zenith and the nadir, height and illumination, disk symbolism and solar flare. (...)

Vanessa Albury, Dave J Bermingham, Jesse Bransford, Hedwig Brouckaert, Jonathan Cowan, Sean Downey, Marthe Ramm Fortun, Alison Kudlow, Jac Lahav, Lauren Luloff, Maria Molteni, Wilhelm Neusser, Zoe Pettijohn Schade, David Shaw, Elisa Soliven, Jo-ey Tang

Sun Worship and Solar Machines is curated by Kari Adelaide and Max Razdow (The Sphinx Northeast) and will be on view in Assemblage, FPAC’s Space at the Envoy Hotel September 1 through October 6, 2018. 

Website

Landscape/Tower (1707), 2017, Oil on linen, 66" x 96 ", Photo: Studio

Landscape/Tower (1707), 2017, Oil on linen, 66" x 96 ", Photo: Studio

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Aug
29
to Sep 11

13FOREST at 444

  • 444 Gallery, Provincetown (map)
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Since 2007 13FOREST Gallery has been working with some of the finest artists in the Boston area to bring recognition to their work and to link them directly with the public. Last summer our pop-up exhibition at Gallery 444 in Provincetown allowed us to connect with visitors from all over the country, and this year we look forward to forging more connections within the art community of Provincetown with a two-week exhibition.

Website

Nocturne/Moon (1804), 2018, Oil on linen, 14" x 20 ", Photo: Studio,  Courtesy of 13FOREST Gallery

Nocturne/Moon (1804), 2018, Oil on linen, 14" x 20 ", Photo: Studio, Courtesy of 13FOREST Gallery

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Mar
3
to Mar 10

THE LURE OF THE DARK - Contemporary Painters Conjure the Night

Sex, death, romance, magic, terror, wonder, alienation, and freedom: the night invites a myriad of often contradictory associations. For centuries, painters have been drawn to the mysteries and marvels of the night and its perceptual and poetic possibilities. From Rembrandt and his Night Watch to Georges de la Tour’s candle-lit scenes of the seventeenth century, James McNeill Whistler’s woozy Nocturnes, Vincent van Gogh’s dizzying Starry Night, and Edward Hopper’s lonely Nighthawks, artists have sought to capture the mood of the night. Of course, an exhibition about the night is also about the light that illuminates the darkness, from the moon and the stars, to candles, cigarettes, and the glow of cell phones. Many of the artists in The Lure of the Dark look back to predecessors, such as the Impressionists and Monet and Pisarro, to study the night en plein air, completing a painting in a single sitting or night. Featuring paintings — including new commissions — by a diverse group of over a dozen contemporary artists, including Patrick Bermingham, William Binnie, Cynthia Daignault, TM Davy, Jeronimo Elespe, Cy Gavin, Shara Hughes, Josephine Halvorson, Sam McKinniss, Wilhelm Neusser, Dana Powell, Kenny Rivero, and Alexandria Smith, The Lure of the Dark illustrates the ways in which the hours of darkness continue to provoke the contemporary imagination, providing apt metaphors for the diversity of human experience along with the anxious tenor of the day.

Website

Nocturne/Doublemoon (1728), 2017, Oil on Canvas, 57”x 67”, Photo: C. Yaeger

Nocturne/Doublemoon (1728), 2017, Oil on Canvas, 57”x 67”, Photo: C. Yaeger

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Space as Narrative
Oct
19
to Nov 26

Space as Narrative

  • Concord Center for the Visual Arts (map)
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Curated by Joel Janowitz

SPACE AS NARRATIVE presents painters who reimagine our contemporary landscapes and spaces using the tools of spatial and painterly choice. Expressing ideas of space, place, memory and time, all of the exhibiting artists relish the slow paced act of painting and looking in a frenetic digital age. Interiors, exteriors, cityscapes and landscapes, these are the spaces we know and engage with and respond to every day.

Artists in the Exhibition:

Rackstraw Downes, Yvonne Jacquette, Elliott Green, Eric Aho, Dana Clancy, Andrew Fish, Cristi Rinklin, Nona Hersey, Keith Washington, Wilhelm Neusser, Sean Downey, Trevor Young, Joel Janowitz 

Website

Untitled Landscape (M1-15) , oil on paper, 9 1/2" x 12 1/2", Photo: Studio,  Courtesy 13FOREST Gallery

Untitled Landscape (M1-15), oil on paper, 9 1/2" x 12 1/2", Photo: Studio, Courtesy 13FOREST Gallery

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ELSEWHERE provincial perspectives
Sep
8
to Oct 8

ELSEWHERE provincial perspectives

The exhibition ‘ELSEWHERE provincial perspectives’ puts the periphery center stage and invites a view behind the scenes of lustrous cultural representation. In thirteen large-format paintings in sober contrast to the Goethe Institute’s opulent décor, Cambridge-based painter Wilhelm Neusser celebrates the melancholic beauty of the so-called province. 

Berlin’s the place, no question! It may be poor, but it is definitely sexy! Here big politics and high culture are made. Berlin attracts those who want to feel the pulse of the times. An avant-garde fights here unafraid of the future.

Province is always ‘elsewhere,’ far away from the capital. Here buses run less regularly, doctors practice in the next largest town, and the local library is managed by volunteers in their mid-seventies who have trouble with the online catalog.

While the big city never sleeps the province is thought to be sleepy, depressed and left behind. Whoever wants to make it moves to Berlin. Whoever has made it though can survive in the province. Pitied as the home of those who have always lived there, those who move there praise it as idyllic. Whether as origin or as refuge ‘elsewhere’ defines us. 

The exhibition ‘ELSEWHERE provincial perspectives’ puts the periphery center stage, questioning prevailing perceptions of the province. Thirteen large-format paintings made for the Boston Goethe Institute open up perspectives on a landscape whose spectacular quality is their melancholy. In sober contrast to the opulent Chippendale décor, the paintings celebrate the unique character of areas that appear on every map, yet are rarely the focus of our attention. 

Elsewhere - 13 Paintings by Wilhelm Neusser, Article by Jim Kiely

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Feb
28
to Mar 29

The Immerath Project

  • Galerie Knecht und Burster (map)
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Reflecting on my own Rhenish upbringing, my current work explores the German notion of Heimat. A recent series, The Immerath Project, is named after a nearby village currently being re-located as a result of strip mining, its buildings torn down to give way to excavated expanses. Immerath acts as a stand-in for a region in which disappearance and development, nostalgia and progress go hand-in-hand. The Immerath paintings portray a scarred landscape, on whose plowed surface, like a palimpsest, traces of old layers remain visible.

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