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Opening with the Artist: Maria Martinez-Cañas at Julie Saul Galley

Posted By Administration, Wednesday, August 22, 2012
Updated: Friday, January 3, 2014

Photo Paintings

Exhibition Dates: September 6- October 20, 2012

Reception with the Artist:
Thursday, September 6
6:00 to 8:00 pm

Cuban-born artist Maria Martinez-Cañas continues her exploration of painting and photography in new works that stem from Francis Bacon's process and pay hommage to other artists- Louise Bourgeois, Eadweard Muybridge, and Laszlo Moholy-Nagy among them.

Layers of hybridity play as much a part of the work as the life of Martinez-Cañas. After her birth in Cuba, Martinez-Cañas's family moved to Puerto Rico. She continued to move and live internationally in Europe and the United States before settling in the Havanna section of Miami. Shards of memory from a nomadic life emerge in work that moves between states of being and belonging. In-between moments are captured in the large-scale works. There is no beginning or end to the pieces, only the inbetween, the flux, the fray between real and abstract.

Martinez-Cañas inverts the practice of Bacon; where he began with photographic or cinematic sources, Martinez-Cañas begins with (his) paintings as a reverse point of origin. Through image transfer, painting, and collage unique works form. There is an unknown familarity to the frames- something subconsciously known but consciously new to our eyes. This can be credited to a working process that calls on the history of DADA and tributes model artists. Martinez-Cañas borrows from the photomontage approach and draws inspiration from Modernists that have helped inform her work, including the aforementioned Bourgeois, Muybridge, and Moholy-Nagy.

The effect of the process is a stunning set of panels, none of which become redundant. All the work in the series offers a new vision. Untitled [GM], 2012 is cool, clean, and calm. Blocks of greys, blues, and other neutrals frame vessels and unite in an elegant and uneven tile pattern; Untitled [PC+KS], 2012 has similar palate with more fragmented planes and is mechanical even cubist. The color red and further fragmentation with less rhythmic order loads Untitled [LMN], 2011 with tension, and Untitled [LB+HB], 2011 allows a more direct reference to homage source through depiction of a round wired enclosure that is reminiscent of a Bourgeois "Cell." This more overt clue makes us want to return to other, perhaps less obvious references and engage all the layers of intention.

For more information on the exhibition, please visit Julie Saul Gallery

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Gallery Talk to Accompany A Sense of TIME Exhibition at Verve Galelry

Posted By Administration, Friday, August 17, 2012
Updated: Friday, January 3, 2014


Exhibition Dates: August 24 – October 13, 2012

Opening Reception:
Friday, September 14
5:00 - 7:00 pm

Gallery Talk:
Saturday, September 15
2:00 - 4:00 pm

A Sense of TIME puts the work of three of the gallery's artists together in dialogue. With great effect and deep sentiment the works of Susan Burnstine, Michael Crouser, and Douglas Ethridge converge. The work of all three exists outside the bounds of time, and yet is made of time's flesh. Only Ethridge gives hint of relative time through season.

Burnstine's work is moody and haunting. There is an urgency to the frames, a liquidity to the moment. A strange balance between fluid and fixed sucks us in. Due in part to the form of capture, home made cameras built of vintage lenses and household scraps, the frames have an overall soft focus with alluring moments of almost hiper-clarity. Waves and ripples in time open visually on scenes that are real, but somewhat loose, whole, but somewhat shadowy. Definition dissolves around you in images of cities and their monuments, parks, pathways, and bridges. All are mirage-like. Burnstine's world echos memory and half-formed dreams. The seen and unseen vignettes expose moments of the past, present, and future. Time intermingles.

The well described Sin Tiempo, or in English Without Time, are wonderfully poetic frames from around the world that truly exist in an undescribed time. Time is quite notably missing and universal; we are allowed to engage the scene for its raw beauty, elegant light, rich shadow, and open narrative. We can slip through the space and invent a tale, a time, or even just a moment. The archway in Carrer de Montjuic del Bisbe - Barcelona, Spain 2010 for example is rhythmic and damp- we can hear a pipe

dripping or clicking footsteps down an unseen corner. Carrer del Bisbe - Barcelona, Spain 2011 is shadow-spread but pierced with warm hopeful light. The stories go on and play out in scenes where cafe and shop owners open and close for the day, a beggar waits outside a church door, streets of booksellers sit surrounded by their wares, children seem to wander quietly and frightfully alone.

The sense of daily watching is logged in the work of Ethridge. His pieces do describe time, butonlyas it relates to season. Winter, the quiet dormant season is portrayed as slumbering and elegant. The dance of time goes on in videos and platinum prints.

For more information on the exhibition, please visit Verve Gallery

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Best of Boston 2012: Robert Klein Gallery

Posted By Administration, Thursday, August 16, 2012
Updated: Friday, January 3, 2014

Named for the second year in a row
and a peek at the fall program: Bill Jacobson

Boston's Best of 2012 announced Robert Klein Gallery to their list of top-picks for the city. An exclusive local for over 30 years the Robert Klein Gallery was deserving of the ranking. Though tucked away on the 4th floor the gallery has international presence and was among the first to exhibit works by the now legendary Diane Arbus, Annie Leibovitz, and Sally Mann.

"Throughout the years, his unerring eye for photography's best has resulted
in a collection that rivals any in the world." - Boston Magazine.

With a legacy as this, we can be sure to continue to expect great things from the gallery.

Boston Magazine

Bill Jacobson
Place (Series)

September 15 - October 27

Echoing his early work, the Place (Series) has been in process for the past two years. The minimal and the infinite are explored in clean direct frames that place a variety of rectangles in space. The rectangles shift in size and recall building materials and paintings. At times alone, at times grouped the rectangles appear inside and out- on roadsides, forests, and parks to cool nondescript interiors. The exteriors heighten a sense of misplacement, the interiors are clean and sleek, but in all cases there is a strange joint. A dialogue continues for Jacobson with this work that his out-of-focus engaged years earlier; the space between abstract and real is revisited. The Place (Series) also raises a set of contradictions between nature and architecture as it seems to numerate the infinite materials of constructed space.

For more information on the exhibition, please visit Robert Klein Gallery

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Artist's Reception: Overview at Catherine Edelman Gallery

Posted By Administration, Wednesday, August 15, 2012
Updated: Friday, January 3, 2014

Terry Evans

Exhibition Dates: September 7 - October 27, 2012

Reception for the Artist
Friday, September 7
5:00 – 8:00 pm

Artist Talk
Saturday, September 8

Terry Evan's passion for the landscape is as old as her own memory. Rooted to the land and born in the very heart of the American prairie, Kansas City, Evan's has spent her lifetime documenting the changes to the natural landscape. Much of the work is bird's eye view; taken from a single-prop plane 600 feet up we can see far and wide. Early work focused on the native ecosystem of the plains- the prairie. Remembrance of the untamed stretches of landscape were only reminders of what the heartland had been before the advent of the plow and invasion of the American agricultural machine. Buffalo, elk, prairie dogs, song birds, butterflies and more once composed a strong and diverse ecosystem.

Evans would go onto document the degredation of such natural spaces and make work that questioned the impact of man's intrusion in images that show planes intersected by highways or interrupted by cemeteries; fields being grazed by animals or fowl; mountains being carved away; and waste dumps filled with oil.

The expansive change and spanning views were balanced by work that struck a more mournful chord. In quiet nostalgic frames books of plant specimens from the Smithsonian and Field Museums became a marker of the specific. Before these images of pressed flowers and annotations we cannot help but wonder if or where any remain today.

The career of Evans has remained dedicated to recording changes to the landscape and the effects of man on the native species. For more than 30 years she has worked to visually preserve the remnants of the natural native landscape and question our relationship to and treatment of the world around us.

Evan's work is held in numerous private and public collections, including the Art Institute of Chicago, The Whitney Museum of American Art, the Los Angeles County Museum of Art and San Francisco Museum of Modern Art. The gallery's Mini-Retrospective will be a teaser for her upcoming retrospective at The Nelson-Atkins Museum of Art in Kansas City in mid-October. Retrospective Text is forthcoming.

For more information on the exhibition and work of Evans please visit Catherine Edelman Gallery

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Artist's Reception: Photography Sculpture Figure at M+B Gallery

Posted By Administration, Tuesday, August 14, 2012
Updated: Friday, January 3, 2014


Exhibition Dates: September 15 - October 27, 2012

Artists' Reception
Saturday, Sept. 15
6:00 - 8:00 pm

The group exhibition curated by Matthew Dipple brings together the work of five female artists who create work in photography and sculpture and often engage the figure. Each in the cast of these New York based artists is strong. All hold extensive exhibition records and are noted for envelope pushing work. This group show promises to expose a mingling of existence and representation. The coexistence of work to raise intersecting points of rhythm, texture, and thought. Movement, the body, identity, and performance are underlying themes.

More information at M+B Gallery

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