To the lighthouse

American watercolors, toothpicks and roadtrips, and ‘Mixing Speak’ at the New Art Center
By RANDI HOPKINS  |  April 5, 2006

Edward Hopper, Highland Light Word has it that famed, Boston-born (in 1836) artist Winslow Homer learned to paint from his mother, a skilled amateur watercolorist of flowers who recognized her son’s talent for drawing from the time he could hold a pencil. It wasn’t until he was 37 years old, however, in 1873, after years of working as an illustrator and later painting in oils in New York and Paris, that Homer began to paint in watercolors himself, inspired by a summer trip to Gloucester. He continued to explore this medium during summer trips to New England throughout the 1870s and in the process began pushing the medium beyond its traditional limits, scratching into the surface of his paper to create highlights, for example, and experimenting with opaque applications of paint called washes. Until this time, works on paper usually served as studies for oil paintings, and Homer’s practice of painting complete scenes in watercolor and exhibiting them as finished works in galleries put him in the forefront of what was in the mid 1870s a brand new trend.

American Watercolors and Pastels, 1875–1950,” which opens at the Fogg Art Museum on April 8, explores the dramatic shift in the status of watercolor during this period, presenting more than 50 examples drawn primarily from the Fogg’s own collection. Artists have taken the medium in a great variety of directions, and this exhibition reflects that diversity, with works by enthusiast and virtuoso John Singer Sargent, Massachusetts-lighthouse appreciator Edward Hopper, and experimental modernist artists John Marin, Charles Demuth, Georgia O’Keeffe and Arthur Dove, among many others.

Another delicate medium — the toothpick — forms the underpinning for sculptures inspired by nature’s patterned and filigreed structures in “Beth Galston: Fragilities,” which opens at Boston Sculptors Gallery on April 19. Galston’s cascading and intersecting works are being shown on a double bill with “Ann Torke: Road Residue,” in which Tork continues her ongoing project of making significant driving trips with sheets of acetate attached to her car, capturing the actual residue from each journey to exhibit as lightbox installations that act almost like film frames, real and also metaphorical records of her travels.

The complex blending of cultures, ethnicities, histories, and genders — and the array of words, symbols, gestures, and sounds used to articulate them — inspires “Mixing Speak,” which opens at the New Art Center on April 17, curated by exhibitions director Ceci Mendez. Nine artists draw on sources as disparate as Afro-Cuban/Brazilian/Taino religion, 19th-century photographs of “American Indians,” and the Mexican Lotería (a form of bingo) to give visible, and audible, expression to complex issues of identity and society as we are experiencing them.

“American Watercolors and Pastels, 1875-1950” | April 8-June 25 | Harvard’s Fogg Art Museum, 32 Quincy Street, Cambridge | 617.495.9400 | “Beth Galston: Fragilities” and “Ann Torke: Road Residue” | April 19-May 20 | Boston Sculptors Gallery, 486 Harrison Avenue, Boston | 617.482.7781 | “Mixing Speak” | April 17-May 21 | New Art Center, 61 Washington Park, Newtonville | 617.964.3424

On the Web
Fogg Art Museum: www.artmuseums.harvard.edu
Boston Sculptors Gallery: www.bostonsculptors.com
New Art Center: www.newartcenter.org

  Topics: Museum And Gallery , Harvard University, Painting, Visual Arts,  More more >
| More


Most Popular
ARTICLES BY RANDI HOPKINS
Share this entry with Delicious
  •   JUST A LITTLE BIT  |  September 23, 2008
    Digital-era experimental filmmakers occupy a rich and interesting place in relation to the new technology available to them.
  •   WHEN THE RED, RED ROBIN . . .  |  September 17, 2008
    This exhibit explores the basic nature of color and its relationship to survival and pleasure in the world.
  •   DOLLHOUSES AND DREAM STATES  |  September 11, 2008
    Autumn highlights in the museums and the galleries.
  •   THE NATURE OF THE BEAST  |  September 10, 2008
    In the world of graphic novelist Kevin Hooyman, whose show opens at Proof Gallery on September 13, packed line drawings take you deep into strange and fantastical scenes.
  •   I AM I SAID  |  September 03, 2008
    Tufts University Art Gallery presents “Empire And Its Discontents,” which opens September 15 with work by 11 artists tied to previously colonized regions in the Middle East, North Africa, and South Asia.

 See all articles by: RANDI HOPKINS