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.
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.
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.
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.
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
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.
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.