Archives: Exhibitions

Celeste Roberge: In The Park

Chaise Gabion Made of brushed stainless steel, Chair for Mining Chromium is a commonplace object with a complex story. Simultaneously productive and destructive, the act of mining involves the extraction of valuable minerals from the earth as it simultaneously leaves behind harmful residues and unpredictable outcomes. The social and economic functions of mining, as well as…

One Hand Clapping: Jo Sandman

Sandman’s innovative artistic practice explores complex interconnections between the physical world and the structural underpinnings of abstraction. Working with a variety of materials, including traditional artist tools and supplies, found objects, industrial hard goods and soft goods, Sandman realigns the connections between painting, sculpture, drawing, photography, and assemblage with highly personal imagery. Each outcome is a supposition about the natural world and her own self-study.  Sandman studied with…

Remember the Ladies: Women Painters in Ogunquit, 1900-1950

W hen Gertrude Fiske, Anne Carleton, Mabel May Woodward, and Susan Ricker Knox attended Charles Woodbury’s Summer School of Painting and Drawing, they joined a growing network of students and professional artists gathering in Ogunquit. Between 1870–1940, thousands of women across New England enrolled in summer art institutes and baccalaureate programs, an outcome of social,…

Kahlil G. Gibran: The Surface and Below

Godson and cousin of Lebanese-American poet Kahlil Gibran, Kahlil G. Gibran studied at the Boston Museum School had his first solo show in New York in 1948. In the spring of 1953, Gibran stopped painting altogether, continuing his career as sculptor, draughtsman, musical instrument maker, and conservator. The Surface and Below presents a select group…

Light Southerly: Henry Strater in Verde Valley

In the wake of the economic collapse that triggered the Great Depression, and following his first one-man exhibition at Montross Gallery in New York, artist and OMAA founder Henry Strater explored 2,000 miles of Southwestern territory before settling in the copper-mining, cattle-raising community of Rimrock, Verde Valley, Arizona. Avoiding the popular Southwest art colonies of…

The View From Narrow Cove

During the early decades of the twentieth century, American artists established their own creative societies while actively resisting academic and aesthetic traditions. On sojourn from Boston, artist Charles Woodbury first ventured to Narrow Cove in 1888 and established the Ogunquit Summer School of Drawing and Painting in 1898. In 1903, artist, writer, critic, and collector…

Charles Woodbury: Open Studio

Charles Woodbury: Open Studio portrays the workspace of one of the most sought-after artists and teachers of his generation. As founder of the Ogunquit Summer School of Drawing and Painting, Charles Woodbury is credited with formalizing Ogunquit’s reputation as a premier art colony for professional and student artists during the early decades of the twentieth…

Art’s Ball: Wood Gaylor & American Modernism, 1913-1936 

Samuel Wood Gaylor Jr., usually shortened to Wood Gaylor, was an active member of the art world of New York and Ogunquit, in the 1910s, 1920s, and 1930s, though he has not received the attention either his role or his work merits. Even as he maintained a full-time career as a dress pattern designer, Gaylor…

Life Streams: Alberto Rey, Cuban-American Artist

Alberto Rey’s work explores identity, place, and the natural environment. While Rey’s early work investigates the experience of dislocation brought about through the immigration experience of Cuban Americans, more recent work explores biological regionalism as a means to reconnect local audiences with their unprotected natural resources. Rey’s native fish series began with small studies of…

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