Wednesday, September 27, 2017
A GROUP EXHIBITION
September 21 - October 31
Gallery talk and reception - Wed. Oct. 4th
11am - 1pm - talk begins at noon
Halloween MASKED Closing Party
Tuesday Oct. 31st, 5:30 - 7:30
Contributing Artists and Collectors:
There are two separate anonymous sources for work in this show. Both are artists and collectors. One is from Holyoke, MA and the other is from Northampton, MA.
With his studio based in Haydenville, MA, Eiseman draws, paints and sculpts in a variety of moods & styles, nearly always representational and/or illustrative. He is largely self-taught, defying routine and convention. The papier-mâché masks included in this show were created specifically for Halloween and environmental protests.
Horan likes to experiment with a variety of materials, often semi-transparent, overlapping them to emphasize that dichotomy of clarity vs. ambiguity, layering them literally and/or figuratively to encourage the viewer to consider changing perspective. Horan lives and works in Holyoke, MA.
Originally from Scotland, Karmody is a founding partner of Holyoke’s Brick Coworkshop, where he makes his art. Working in concrete and other materials, he is interested in the gesture of information much in the same way that a typographer is interested in the way kerning contributes to the ability of a word to project itself.
A resident of Springfield, Maldonado-Morales collects the traditional carnival ponce masks and art works from his native Puerto Rico.
Nimmer has exhibited his art in over 200 solo and group exhibitions across the US and in Europe, Asia, and Australia. Dean’s artworks are in numerous public and private collections including the Boston Museum of Fine Arts, DeCordova Art Museum, Smith College Art Museum and the Drawing Center, NYC. Nimmer teachers art here at HCC. His home and studio are based in Holyoke.
Peters is a contemporary metal artist working out of Holyoke, MA, with roots in Texas and Western Massachusetts. His work embodies a wide range of intricate masks to large-scale commercial installations. Over time he’s become very deliberate with his intentions to incorporate the spirit of the past with a distinct modern edge as an interpretation of the natural world; allowing his environment to play a key role in how his work is expressed.
Based in Holyoke, Renadette is a multi-disciplinary artist whose (often) theatrical work explores and exploits both social and psychological contradictions. Her work has been exhibited nationally with shows at the Sculpture Center, NY, Southern Exposure, San Francisco , Brattleboro Museum and Art Center, VT and most recently a solo show at Occam Projects, Providence RI and an installation in the powder magazine at Fort Jay at the Governor’s Island Art Fair, NYC.
Stenson has lived and worked in Northampton for 60 years. She was educated locally and employed as a paintings conservator.
Waldman is a dealer and collector of vintage and found vernacular photography, specializing in 20th-century snapshots. Photos that she discovered have been included in numerous exhibitions and publications throughout the world. She can be found, selling and collecting at photography and ephemera shows throughout the country and abroad, as “House of Mirth Photos”, and at her gallery and shop, “Spot 22” in Easthampton, MA.
Friday, May 26, 2017
Image: New Snow on the Road Above Conway, watercolor on Arches Rough paper, 18x24, 2014
a retrospective on the art of
Opening reception and 70th birthday celebration
Thursday Aug. 3rd, 4:30 - 8:00pm
Closing reception and Gallery Talk
Wednesday Sept. 13th, 11:00 - 1:00pm
-Gallery talk begins at noon
Steven Mulak, alleged artist
Representational art, as I practice it, is an interpretation of subjects as diverse and familiar as late day shadows or an interesting abstract created by a random arrangement of chairs. It is the “found” aspect of beauty in everyday things that most appeals to the artist in me. My paintings and drawings endeavor to share the impact of a particular artistic moment with the viewer.
Creating a painting ought to be both art and craft: If you have only the craft without the art, the result is boring and predictable. If you have the art without the craft, nobody knows what the hell you’re talking about. In order to successfully translate a subject into a painted image, the painter must be fluent in both elements, and then have just enough imagination to see what the final layer of the painting might look like before the first is applied. I strive to do just that. I try to interpret the subject with a full range of values, a harmony of warm and cool tones, a saturation of color, a balanced design and an accurate drawing beneath it all.
From the beginning, I’ve been fascinated with the way that the artists whom I admire make shiny things look shiny and glass objects appear transparent and water appear reflective and wet. Hands that look like hands intrigue me, and portraits that are recognizable as the people they represent seem the ultimate manifestation of a painter’s skill. There has always been a part of me that wants to push his nose up close enough to the painting to “see how this guy did it.” My love affair with the techniques of representational art is abundantly evident in my work.
I grew up watching John Gnagy on TV. I must have somehow assimilated perspective drawing through him, because I cannot remember ever learning it. I still have a carbon pencil from one of his “learn-to-draw” kits that I got one Christmas when I was a little boy. Nearly a lifetime later, I’m still that same kid who wouldn’t stop drawing, although lately the kid wears bifocals and has hair that is more gray than blonde.
For 23 years I went to sea and worked as an engineer – hardly the sort of thing a painter might sight in his development. But in virtually every day of my professional career I called upon my drawing ability to explain problems both complex and simple. I can testify to the truth of the adage that a picture can be worth a thousand words. Those I worked with regularly said, “You should become an artist.” Of course, I’m now told that I paint like an engineer. I don’t fight it - You can’t get away from who you are.
Later, I took courses with Don Wilheim. His ideas on technique are at the foundation of my thinking about oil painting. When I came to HCC as a middle-aged student, I met Frank Cressotti. He challenged me to reconsider some hide-bound ideas I clung to and to see that the “art” part of painting could co-exist with the “craft.” At HCC I made friends with one of the most talented artist I’ve ever known: The late Don Kendrew and I learned much of what we knew about watercolors while working together.
I try to paint like the artists I admire — all those virtuosos who were masters of the craft and seemed to be able to make a picture with a minimum number of brushstrokes. Among them, I learned from John Singer Sargent that no matter how hard you labor, the painting should look like you just whipped it off. I admire the young Corot, whose motto seemed to be “simplify, simplify.” Rowland Hilder’s watercolors are marvels that lend veracity to his statement, “The one most important aspect of watercolor painting, and a reason why practice is important, is the feel for the eventual delicacy of the final product.” Monet showed me that detail need only be suggested, and I know Renoir was talking to me when he said, “We should not be afraid to make pretty paintings.”
Me, I make pictures. I have no wish to be taken seriously. For that matter, I’m unsure if I meet my own definition of the term “artist.” Sometimes a painting is just a painting. Still, I remain committed to the interpretive aspect of the representational work I do, and take to heart my fellow painters’ compliment of “well seen.” I paint in the hopes that the viewer might recognize something of life’s ongoing beauty and artistry trough my interpretations.
Wednesday, April 12, 2017
HOLYOKE COMMUNITY COLLEGE
APRIL 18 - MAY 11
APRIL 20th, 7 - 9 pm
AWARDS ANNOUNCED - 8:00 PM - LIBRARY LOBBY
The HCC Student Art Show is held in 3 locations throughout the HCC campus: The Taber Gallery and the Library Showcases on the 2nd fl of Donahue Bldg.; the (temporary) Media Center on the 1st floor of the Donahue bldg near Rm 168; and the Art Dept. on the 3rd floor of C bldg; All locations are open to the public during regular school sessions (excepting the Taber Gallery which is open Mon - Thurs. 9am - 5pm)
Tuesday, March 7, 2017
IMPRESSIONS OF HOME
Art by residents of Friends of the Homeless
-an overnight shelter for adult men and women
Feb. 27 - March 30, 2017
Gallery Talk & Reception
Wed. March 22
11am - 1pm, talk begins at noon
with Alicia Shibley, Friends of the Homeless arts program facilitator
“Impressions of Home” is a body of work completed by individuals that reside at Friends of the Homeless, an overnight shelter for adult men and women. During 2016, an art program was developed for our residents to promote creativity and offer a safe harbor for visual and emotional expression. “Impressions of Home” explores a theme that is unique for every individual who deals with homelessness. It allows our residents to share their personal stories of resilience with the community.
“Impressions of Home” at the Taber Gallery provides a small showing from a larger collection of work that will be up for auction at our second annual fundraiser at the Log Cabin.
Alicia Shibley an HCC graduate from the class of 2013 is an intern and arts program facilitator at Friends of the Homeless in Springfield, MA. She will be giving a talk about the work she is involved with on Wed. March 22, at noon.
Thursday, January 12, 2017
Arrival Via Departure
Walking Planet, 2012, 3’ x 3’, mixed media photo collage
Jan. 23 - Feb 17, 2017
Gallery Talk & Reception - Wed. Feb. 8th 11am - 1pm, talk begins at noon
THURS. FEB. 16, 5;30 - 7:30
This exhibition's gallery hours are Monday through Thursday 9am - 5pm during regular school sessions.
My art is about the experience where actuality and vision meet – the reality of a given space or time and the preconceptions and associations that are brought to that moment and place. As a third culture kid, a diplomat's spouse and an American expat I have made a life as a professional stranger. I am always living between cultures and drawing connections between what is in front of me and what associations come to me as a result. For it is when we are presented with a seemingly fresh set of circumstances that we are forced into leaving our expectations behind and a unique side of ourselves is then revealed. From this experience of clarity or insight we may connect with ourselves, each other and our environment in a more genuine manner.
Wednesday, September 28, 2016
Anne LaPrade Seuthe
Oct. 11 - Nov. 9, 2016
Reception and Gallery Talk: Wed. Oct 19 11-1:00pm - gallery talk begins at noon
The paintings in Hyperopia are inspired by scenes of Western Massachusetts that include Mt. Sugarloaf, the Quabbin Reservoir, and the Connecticut River. The paintings play with the notion of time of day, distance, and other factors that impact our perception of the landscape.
As Hyperopia suggests: Things seen up close may appear indecipherable, and may only be understood viewed from a distance.
Anne LaPrade Seuthe holds an MFA from the University of Massachusetts. Her public and collaborative projects include X Marks the Spot, DUMBO Arts Festival, Brooklyn, NY, Intrude 366 at the Zendai MoMa in Shanghai, China, Physical Geography/Psychological Landscape at the Goethe Institute in Dresden, Germany and at the Distillery Gallery in Boston, MA,The 2008 London Biennale with TCE Boston, and The Coaster Project at the Fuller Museum. In 2016 she served as a mentor and panelist of the TransCulturalExchange International Opportunities in the Arts Conference in Boston, MA. She has been a resident artist in the East/West artist residency in Carei, Romania and her work has been included in recent group exhibitions to include Mapping Heaven, Front Room Gallery, NY,The American Dream at Takt Projekt Raum in Berlin, Germany and AmericAura in Cameroon, West Africa. She has had solo exhibitions at The Augusta Savage Gallery and at Herter Gallery at the University of Massachusetts Amherst as well as at the Main Art Gallery at Hampshire College. She has been awarded the Strathmore Paper Award for drawing, a study-abroad award from the Ministry of Culture, Germany, a New England Foundation for the Arts presenters award for travel to Eastern Europe, and an Award of Excellence from the Department of Art, Art History, and Architecture at the University of Massachusetts Amherst.