SOME GLIMPSE OF LIFE
July 17 – September 12, 2020
Montserrat Gallery
23 Essex Street
Beverly, MA 01915
Teresa Baker, Carly Glovinski, and Emma Rhodes redefine the structural design, patterns, and texture inherent in everyday materials. They create familiar objects that behave strangely and strange objects behave ordinarily. Their work is intentionally peculiar and precarious. It challenges our assumptions about the things we interact with every day, like the things we hold and the things that hold us. Some Glimpse of Life is an obfuscation of the familiar and strange– the behavior of objects and materials– the magnification of nostalgia and the overlooked– the moments of life and the everyday.
HERE
June 15 - 19, 2020
Various online platforms
HERE is a series of performances projected across numerous digital platforms. It is an investigation, reaction, and dialogue about Art on the Screen.
HERE explores the trivium of subject, camera, and observer. It concerns itself with time, in that the works are temporal and permanent; performance and document. It ponders the voyeuristic paradigm many are navigating in the age of COVID-19 where we are physically separated yet invited into each other’s homes. Moments happen and are held in no place places. They are here, anywhere, everywhere, and nowhere.
PERFORMANCES
Monday, June 15
Jimena Bermejo
Tabled
2:00–6:00pm
Tuesday, June 16
Mandy Cano Villalobos
Sanities and Solitudes: Blow (Birthday)
7:00–7:30pm
Wednesday, June 17
Morehshin Allahyari
She Who Sees the Unknown (Aisha Qandisha)
7:00–7:30pm
Thursday, June 18
Kirk Amaral Snow
Untitled
7:00–7:30pm
Friday, June 19
Jovan Brock
6:30–6:40pm
Jylik Buissereth
Survey and Herd
7:00–7:30pm
ADDRESSING PRESENCE
February 24 – 28, 2020
Montserrat Gallery
23 Essex Street
Beverly, MA 01915
Addressing Presence was intended to be a solo exhibition of performative works by Leah Rafaela Ceriello. She wanted to create long, durational performances each day for the five day exhibition. About a month before the exhibition opened, Leah unexpectedly passed away. Working alongside her family, we decided to proceed with the exhibition as a tribute to her. A large component of this exhibition consisted of Leah’s loved ones re-performing her past works.
“My practice, as an interdisciplinary artist, stems from an intense investigation of time. I imagine time visually, as two parallel lines: the line of deep geologic time, and the line of one human life. The lines stretch ahead and behind with no end or beginning. Deep geologic time seems incomprehensible. We don’t know for certain its origin and we don’t know where it will end. However, a human life is equally uncertain. We are as ephemeral as a mountain range succumbing to erosion, or a glacier filled pass at the height of summer. We appear, linger and disappear. A vapor, to solid, to dispersal. Both lines of time exist inside our bodies, parallel, at two different scales.”
-Leah Rafaela Ceriello
SEE YOU FOREVER
September 28 – November 2, 2019
Carol Schlosberg Alumni Gallery
23 Essex Street
Beverly, MA 01915
Theresa Anderson (Denver, CO), Tom Maio (Boston, MA), and Quay Quinn Wolf (New York, NY) address time, memory, the body, and impermanence through installation, sculpture, photography, performance, and temporary and non archival works of art.
See You Forever functions less as a statement and more as a question; What lasts and what fades away? How do you make a memory and how does it change over time? How do you preserve a moment? How do you keep meaning/value/essence and make it stay? What happens when it’s gone? What do you have left?
A MIRROR FOR YOU
September 6 – October 12, 2019
A R E A Gallery
A Mirror For You includes work by 9 artists from Massachusetts, Connecticut, New York, Texas, and Colorado who create work that challenges our assumptions of what we consider painting, sculpture, photography, and installation. Theresa Anderson, Taylor Clough, Susan Carr, Mel DeWees, Brian Galderisi, Jamey Hart, Joe LoVasco, Brendan MacAllister, and Boris Ostrerov push those boundaries in strange and thought-provoking ways.
ASHLEY BROWN DURAND: IT’S OK TO FEEL THINGS
August 10 – September 21, 2019
Carol Schlosberg Alumni Gallery
23 Essex Street
Beverly, MA 01915
It’s OK To Feel Things features the work of Ashley Brown Durand, who runs Secret Holiday Co., and Grapefruit with her partner Justin Brown Durand. Her sewn and embroidered affirmation banners are featured on Anthropology, Urban Outfitters, and many other shops across the world.
JOSE MEDINA: JUST TO CLARIFY
January 21 – February 23, 2019
Carol Schlosberg Alumni Gallery
23 Essex Street
Beverly, MA 01915
Just To Clarify features the work of animator and illustrator Jose D. Medina. Originally from Venezuela, Medina now resides in San Francisco, where he works for Facebook.
Medina’s work is character based and features a wide variety of diverse populations. The content ranges from political to the humorous and lighthearted, often doing both simultaneously. Just to Clarify functions as a celebration of queerness and addresses the many LGBTQIA issues of our time.
Medina has developed his own unique illustrative style which utilizes compact geometric shapes. Medina writes: “This is a practical extension of how I view people: we are simple and similar. Despite our differences, we share the same basic shape. Everyone belongs.”
WHAT CAN I SAY?
January 10 – March 3, 2018
301 Gallery
301 Cabot Street
Beverly, MA 01915
“What Can I Say?” brings together a group of artists whose work employs language as a tool for provocation and resistance. Drawing on personal experience, history, and current events, these artists respond poignantly to the salient issues of our time using humor, irony, and provocation. Through photography, painting, drawing, fiber art, sculpture, book arts, and performance, “What Can I Say?” collectively addresses national and social identities, the law, capitalism and greed, the news media, and more, illustrating how art can be used as an effective tool for change and resistance.
Artists: Ryan Arthurs, Taylor Clough, Johan Deckmann, Pat Falco, Andy Li, Daisy Parris, John Richey, Joanna Tam, Alok Vaid-Menon
Review: ‘What Can I Say?’ Small group show at Montserrat gives artists the chance to answer, by Keith Powers
STUDENT PERFORMANCE SERIES
This two week-long series transformed Frame 301 gallery into a dynamic, street-front performance space. Two works were selected by the gallery staff, each of which were performed in the window gallery during a one-week period, with the remnants of the performances remaining on display for the duration of that week.
November 27–December 8, 2017
Frame 301 Gallery
301 Cabot Street
Beverly, MA 01915
Max Reinhard: Insulate, Tuesday, November 28, 2017, 3:30-7pm.
Max Reinhard will walk the line between comfort and claustrophobia in the form of a sculptural performance. By weaving himself into a cocoon over the course of several hours, he will progressively obscure himself from view. His process will be displayed on a screen from a webcam inside the capsule, allowing the onlooker a first person perspective into this confined space. Max is interested in repetitive tasks bringing comfort and security, but also discomfort as we become trapped in habits, patterns, and obsessions.
Róisín Gilligan: Stranger Beings, Wednesday, December 6, 2017, 6–6:30pm.
Stranger Beings is a performance piece in a series of ongoing works by artist Róisín Gilligan. The works explore the relationships and interactions we have with one another as individual beings– whether between strangers, close friends, or lovers–Róisín examines the ways we interact with one another and how those interactions create the environment around us, as well as the ways in which our physical being and the connection we have with one another limits our intimacy.
MI JU: WOORI 우리
October 23 – December 11, 2017
Carol Schlosberg Alumni Gallery
23 Essex Street
Beverly, MA 01915
New York artist Mi Ju creates meticulous works on canvas that showcase birds, insects, fruit, and plantlife rendered in collage, acrylic paint, watercolor, pen, and pencil. Her large, labor-intensive and layered works toy with the micro and macro and explore such themes as pollution, global warming, food chains, and extreme weather conditions. Tiny ecosystems accumulate over large surfaces, creating intricate universes composed of marks and color.
MATT MURPHY: FREEDOM OF ASSEMBLY
August 7–September 9, 2017
Carol Schlosberg Alumni Gallery
23 Essex Street
Beverly, MA 01915
This exhibition presents a single painting made from 20 shaped canvases on a single wall, along with one of several process drawings that informed the painting. The painting was created in response to the specific proportion of the wall: 335 inches by 114 inches.
The work draws kinesthetic relationships between shapes and the space they inhabit. The intention of the painting is to evoke liminal states, waking states, and fantasies. The shapes in these paintings are under the influence of each other, changing the nature of the space between them. If the shapes move or change color, the whole gesture changes. I see these relationships as mathematical or musical. Color in is not referential; it straddles the real and imaginary. Color is material and exists in this world but seeks to expose a world of fantasy.
JAMEY HART: WHAT'S NOW FROM THEN
July 21–September 6, 2017
Frame 301 Gallery
301 Cabot Street
Beverly, MA 01915
Jamey Hart collects discarded material such as shoes, gloves, plastics, rope, and string, which he uses to create humorous works that comment on our accumulation of stuff and that bridge the mediums of painting and sculpture. What’s Now From Then includes five recent paintings and an excerpt from Hart’s book ON PAINTING, a collection of writing from the past two years that sheds light on the language we attach to art and to the process of making.
Jamey writes:
I am invested in the gestation of an object. The way a thing comes into being, like a rock or a snowball, compacted and varied. Shaped and affected by the strange attractions of the world itself. I wonder what it means to carry on making objects, and how to make the next one.
I grab at painting and try to form a thing that is as dense as a black hole while attempting to cull some poetic out of a rag or a stick. At the base level, the work is about material, more specifically the material language of painting and the potential therein. I am informed by things that grow from themselves, where the meaning is found radiating off of them in some gaseous, amorphous fog, formless but there. I try to lasso some of the energy that exists while I am making, some contained power, and keep it there. After good days, I am left with the object in the room with me, haunting and inconsolable, making me want to keep going.
The Frame 301 space is presented to the public through expansive storefront windows that face the road, and encourages large-scale, site-specific works from emerging and established artists. The unique venue encourages installations that encompass the entirety of the space and completely transform it. The public is able to view and appreciate the artwork on a 24/7 basis, leading many to unexpectedly experience the artwork.
TIM MCCOOL: MOST IMPROVED
July 10–July 29, 2017
Montserrat Gallery
23 Essex Street
Beverly, MA 01915
Most Improved, a solo exhibition by Boston-based artist Tim McCool features a variety of paintings and sculptures that will be displayed alongside three workshop spaces. Workshops will be held each week in the gallery space. McCool is a painter, drawer and installation artist. Originally from Pittsburgh, McCool moved to Boston to pursue an undergraduate degree at Boston College. He received his Master’s in Fine Arts from Tufts University and the School of the Museum of Fine Arts. McCool has exhibited his work at the Museum of Fine Arts Boston, Carroll & Sons Gallery, Bentley University, and the Essex Art Center.
BRENDAN MACALLISTER
May 30–July 17, 2017
Frame 301 Gallery
301 Cabot Street
Beverly, MA 01915
My work is rooted in a brutish, naive style and focuses on the absurdity of people and the human condition. Using metaphors, symbols, allusion and colorful figures I create a visual narrative usually meant to disassociate, but also speak personally. I use dark humor to speak on otherwise taboo subjects in a lighthearted way, offering hidden underlying meaning through obscurities and curiosities.
Brendan MacAllister is a recent graduate of Montserrat College of Art and currently lives and works in Beverly, Massachusetts. He has recently exhibited at Montserrat College of Art, Beverly, MA, Porter Mill Gallery, Beverly, MA, Distillery Gallery, Boston, MA, and Nahcotta Gallery, Portsmouth, NH.
The Frame 301 space is presented to the public through expansive storefront windows that face the road, and encourages large-scale, site-specific works from emerging and established artists. The unique venue encourages installations that encompass the entirety of the space and completely transform it. The public is able to view and appreciate the artwork on a 24/7 basis, leading many to unexpectedly experience the artwork.
BCA GALA
FINDERS KEEPERS
April 3–May 12
222 Cabot Gallery
222 Cabot Street
Beverly, MA 01915
Navigating a space between painting and sculpture-- Work that never really seems to truly be either or, but maybe something else entirely.
Aubrey Gauthier collects, cuts and sands found wood as her support. Working her way around each cylindrical object she paints and collages found paper, metal and other material onto the surface. Gauthier chooses to keep the assemblages active, like a puzzle that has different images depending on how you assemble it. The objects are not glued to one another, rather each installation of the objects are interchangeable. Options for displaying the objects are infinite, as you can imagine hundreds of ways to display a single grouping.
Jamey Hart's work is made up of paint, wood, glue, found material and other recognizable objects. Found material is often disguised in paint or wrapped in paint soaked yarn. Whether it be doll parts, clothes, tennis racket, or a cut up soccer ball, the object's history is present in the end result. No shape, surface or edge is the same, and begs to be viewed from every angle. Hart’s work is relatively small, and often highlights one or two found objects rather than a mass of hundreds. Focusing on one or two objects calls attention to their history and the unique surfaces, colors, and shapes associated with them, like a portrait of a discarded object or memory.
Susan Still Scott’s painted objects interact with the corner, wall, floor, and reference (or poke fun at) the traditional assembly of a painting. Her objects often appear to be paintings, but beat up, ripped, stuffed, and sewn back together. They are humorous in the way that they are assembled and displayed. Paintings that sit on the floor, lean, or simply hung lower than normal. They challenge our assumptions of painting and the ways we typically experience art objects.
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Kevin Lucey
REVOLTING
