AKATBA Gallery Talk September 16, 2011Posted by claralieu in Gallery Talks.
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We had the opportunity to hear new faculty artists David Kelley, Andrea Evans, and Heddi Siebel speak about their work in the AKATBA exhibition today! The exhibition is up through this weekend, and on Monday we will install “The Standing Reserve”, featuring studio art staff.
Transformations: Installation, Opening, & Gallery Talk March 8, 2010Posted by claralieu in artists, drawing, Gallery Talks, Installing Exhibitions, Opening Receptions, painting, photography.
Tags: drawing, painting, photography, sculpture
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Last week was a busy week in the gallery: on Monday and Tuesday we installed the exhibition “Transformations”, Thursday was the opening reception, and on Friday we had a gallery talk with Ken Takashi Horii and Thomas Lyon Mills.
(left to right) Thomas Lyon Mills, Gallery Director /Curator Clara Lieu, Nathalie Miebach, and Ken Takashi Horii discuss the installation plan.
(left to right) Thomas Lyon Mills, Gallery Director/Curator Clara Lieu, and Nathalie Miebach discuss options for how to install the exhibition.
Figuring out the layout for the exhibition was complicated due to the fact that every artist had both two-dimensional and three-dimensional work. All of the exhibitions we’ve mounted since I started directing the gallery in 2008 have largely featured two-dimensional work, so this was a first for the gallery to have so much three-dimensional work in a single show. Other important considerations were how to distribute and balance color throughout the gallery. Nathalie Miebach and Thomas Lyon Mills both had works which were heavy in color whereas Ken Takashi Horii and Anthony Crudelle-Janello had largely black and white or monochromatic works.
Each artist had their own pre-determined system for hanging and arranging their works in the gallery. In Ken Takashi Horii’s case, his large sculpture arrived in several pieces and was installed piece by piece into the wall. Nathalie Miebach had sculptures and also several audio components which went along with her musical scores. Thomas Lyon Mills had a simple and effective hanging system for his paintings which allowed them to hang on the wall unframed. Anthony Crudelle-Janello’s sculpture was constructed on a set of wheels, allowing it to be wheeled right into the gallery. Crudelle-Janello’s photographs were hung on the wall using strips of velcro stuck to the back of the photographs.
The opening reception was well attended by both members of the Wellesley College community as well as several people from off campus, many of whom were visiting the gallery for the first time. A live jazz performance with piano, flute, and bass was provided by the Wellesley College Music Department.
The following day the gallery hosted a gallery talk by Thomas Lyon Mills and Ken Takashi Horii. Hearing their insights and thoughts about the work provided a whole new level of depth and understanding of their work in the exhibition. View all of the photos from this exhibition and events on our Flickr account.
Thomas Lyon Mills speaks about his work.
Ken Takashi Horii speaks to the crowd about his work.
Pacific Pictures: Gallery Talk & Opening October 9, 2009Posted by claralieu in Gallery Talks, Opening Receptions, printmaking.
Tags: australia, carleton college, exhibition, new zealand, printmaking
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We hosted two events for “Pacific Pictures: Student Work from the Carleton College Seminar in the South Pacific“ today: a lunchtime gallery talk and an opening reception in the late afternoon. Fred Hagstrom, Professor of Art at Carleton College led the gallery talk where he discussed the experience of this studio art seminar in New Zealand and Australia from 1996-2007. He talked about the intensity of the seminar: eating three meals a day with the 26 students for 10 consecutive weeks. They took many excursions which brought them to many parks and parts of the country that were far distances from cities. A major part of the seminar was also working in rented printshops for the duration of the trip, but the heart of the seminar seemed to be deeply rooted in the process of keeping a sketchbook.
In the afternoon, we had an opening reception where many Carleton alumni gathered in addition to people from the Wellesley College Community.
Pulp: Gallery Talk September 24, 2009Posted by claralieu in drawing, Gallery Talks, photography, printmaking.
Tags: drawing, letterpress, photography, printmaking
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This afternoon the gallery hosted a lunchtime gallery talk for “Pulp: Works on Paper by the Studio Art Faculty“. Wellesley College Book Arts Program Director Katherine McCanless Ruffin, and Professors Daniela Rivera and Christine Rogers presented short talks on their works in the exhibition.
Katherine McCanless Ruffin discusses her letterpress prints. The two prints on the right are images of the a vandercook press, created from letter forms and punctuation. The print on the left was a collaborative piece which was recently completed with Kiki Smith through the Davis Museum.
Christine Rogers discusses her photography project “New Family”.
Daniela Rivera discusses her silverpoint drawing.
Patrick Earl Hammie: Gallery Talk & Opening Reception April 3, 2009Posted by claralieu in Gallery Talks, Opening Receptions.
Tags: artist, exhibition, gallery, male figure, masculinity, oil painting, wellesley college
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We had an eventful day at the gallery today: Patrick Earl Hammie gave a stimulating gallery talk during lunchtime with the opening reception for his exhibition was later in the afternoon.
At the gallery talk, Patrick provided an excellent mix and range of topics regarding his work, he covered specifics about his painting process which involves photographs as resource materials, anecdotes about his work method, some biographical facts which related to his works, the origins of his pieces and the conceptual ideas behind them, which are primarily focused on ideas of masculinity. As an artist myself, I’m always fascinated by the bits of information regarding their work process which then reveal themselves in the final pieces; the fact that Patrick has been working in his front bedroom on these oil paintings and hasn’t been able to step back further than about 6 feet away is intriguing. Another part of his process which was interesting was when he talked about spending as much time looking at and analyzing the painting as was spent actually painting it; i.e. a painting that takes 10 hours to create requires another 10 hours of looking.
If you were at the gallery talk today, what were some of the highlights for you? Comment and let us know!
One question which wasn’t asked during the Q & A at the end of the gallery talk, but which I was asked several times throughout the day was the significance of the exhibition title “Equivalent Exchange”. Patrick’s answer to that was that the title references the idea of needing to give something up in order to gain something, a concept which is imbedded in his paintings.
The opening reception later that afternoon was lively, with dialogue and conversation happening all over the place. We had a great turnout, and we couldn’t be more pleased to have this opportunity to host Patrick here at the gallery.
Visiting Artist Andrew Raftery March 18, 2009Posted by claralieu in Gallery Talks, Lectures.
Tags: drawing, engraving, printmaking, RISD
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I’m frequently amazed by the number of incredible visitors, lectures, and events that are within an arm’s reach on the Wellesley College campus. So again, even though the events I discuss below are not related to the gallery, they are definitely worth highlighting and talking about.
Andrew Raftery, a professor of printmaking at RISD and my former professor was on the Wellesley campus today as a Visiting Artist in the Art Department. Andrew is one of the very rare and few contemporary artists who specializes in the technique of engraving. He gave a lunchtime gallery talk at the Davis Museum on their current exhibition Prints in an Age of Artistry which features 16th and 17th century Italian prints. The gallery talk was a wonderful intersection of commentary which involved discussion of various printmaking techniques, the diversity of the subject matter, and history all in one.
After the gallery talk, we headed over to my Life Drawing class for a demonstration and lecture. My Life Drawing class just started a unit about cross-hatching techniques, so it was perfect timing to have Andrew visit and talk about some of the research and visual analysis he’s been doing with cross-hatched prints. He’s been breaking down the multiple layers of hatching from historical prints on separate sheets of acetate to demonstrate the process and motivation behind the hatch marks. Andrew then did a demonstration on how to cut goose feathers into quill pens, which students then proceeded to create and cut with exacto-knives. The quill pens were then used to do a small cross hatched portrait from a model for the rest of the class. At the end of the class students had the opportunity to view his two engraved projects “Suit Shopping” and “Open House” which was recently completed last year.