Antonia DaSilva/ Jefferson Hayman/ Diana Horowitz/ Daniel Ranalli/ Sarah
Hinckley/ Dermot Meagher/ Linda Bond (Project)
July 2 – 21, 2021 RECEPTION: Friday July 2, 2021 6-8PM
The gallery is pleased to present an exhibition featuring new work from gallery artists and our first exhibition with Sarah Hinckley. There will be a reception for the artists and public on Friday July 2 from 6-8 PM.
ANTONIA DASILVA will present a suite of six new oil paintings on wood panels with silkscreen underlayers called Collecting Time. For centuries, humans have tried to measure time, keep track of it, and not waste it. In contemporary society we are constantly trying to fit more into the limited hours of each day. We are in touch with the idea of time through the very tangible—watches, phones, computers, wall clocks, oven clocks, calendars, etc. Despite the abundant evidence of the passing of time both in nature and in our human centered experiences, there is never enough of it. Time is an abstract concept, yet there is a desire to control, hold on to, and collect it. Even save it up for later use. This series of paintings investigates these desires as well as the reality that none of them are actually possible. Time can’t be contained in a rectangle. It can’t be ordered. It can’t be held on to. Our perceptions of time can be clear at one moment, while eluding us or disappearing entirely at the next. Through built up layers of plywood, silkscreen printing and oil paint, these images create a way for time to accumulate. The works themselves become additional evidence of the passage of time.
Antonia DaSilva is a painter and mixed media printmaker. Her work focuses on the proliferation of everyday objects in our surroundings and how we interact with both the man-made and the natural. She uses painted, cut-out plywood pieces and a variety of printmaking techniques to explore the tension between the two and three dimensional, pushing the realm of painting into sculpture and vice versa. DaSilva’s work has been exhibited at the Provincetown Art Association and Museum, Off Main Gallery in Wellfleet, Toe River Arts in North Carolina, and A.P.E. Gallery in Northampton, Massachusetts. She holds a BA in Studio Art from Smith College. DaSilva lives and works in Orleans, MA.
JEFFERSON HAYMAN employs nostalgia, resonance, memory and common symbols to create beautifully crafted photographs rooted in that medium’s history. His hand crafted silver gelatin, platinum and archival pigment prints are paired with contemporary artist-made or vintage frames that make each artwork a unique statement. His work can be found in many private and public collections, most notably The Museum of Modern Art Library, The New York Public Library, President Bill Clinton, Robert DeNiro, The Boston Athenaeum and Ralph Lauren. Jefferson will present new photographs in unique artist made and restored frames.
Born in New York City, 1958, painter DIANA HOROWITZ earned a BFA from SUNY Purchase and an MFA from Brooklyn College. She extensively documents her time between NYC, the Cape, and Italy, capturing the many moods of these differing environments through her canvases. These small-scale works from her “one-shot painting” period are a departure from her past in larger format, allowing her to hone in on her composition, move through it intuitively, and tease out what is interesting and fulfilling to her in the subject.
Horowitz is an unrepentant formalist. This is the core of how she sees and composes her scenes and informs the execution of her work. Formalism is her anchor, but there is also a sensual, emotional undercurrent to her work. These small canvases are little windows into a world of light, shadow, and shape, like a gentle hum of music carried to our ears. Once in, we do not want to leave.
Oftentimes, Horowitz returns to the same scene on a different day or from a different vantage point, tracking her ever-changing surroundings through rigorous observation. She interrogates the scene with her paint, honing in on the specificity of her subject and then dropping it. She never dwells for too long, and forges ahead to capture the next thing, engrossed in the present moment. This act of painting on site is meditative, sometimes masochistic, but ultimately, the greatest freedom to the consummate observer that she is.
These eight selections are emblematic of Horowitz’s skill and style. She is formal but never rigid, with an uncanny ability to capture hazy morning light, the ephemerality of the ocean, the changing of the seasons, how forms present in relation to one another. Like breath on glass–fleeting, gentle, hushed.
Horowitz has had solo exhibitions at Bookstein Projects, NY, Hirschl & Adler Modern, NY; P.P.O.W., NY; MB Modern, NY; Hackett Freedman Gallery, San Francisco, and Sazama Gallery, Chicago. Group exhibits include the Museum of the City of New York; American Academy of Arts and Letters, NY; National Academy Museum, NY; Bayley Museum of Art, Charlottesville, VA; and the Neuberger Museum of Art. Her work is included in the collections of the Brooklyn Museum; Museum of the City of New York, New-York Historical Society; Sheldon Swope Art Museum, Terre Haute IN; Hunter Museum, Chattanooga TN; Ballinglen Foundation, Ballycastle Ireland; and the Mississippi Museum of Art in Jackson.*
*Text by Isabelle Turgeon
DANIEL RANALLI presents FIRE-ICE-WATER, a series that he has been working on for several years, begins with NASA satellite images of major wildfires; glaciers, glacial calving; hurricanes and floods. There is an extraordinary formal beauty to these photographs even when they depict catastrophic or life-threatening weather, or geological events . Ranalli is motivated by the current global catastrophe of climate change and rising sea level and the failure to take serious remedial action. Perhaps they are the 21st century analog – in a very minor way – to the 19th century photographs and paintings that motivated congress to create national parks and preserves. It is a task that must be taken up by many of us.
All the other photographs and physical material in these pieces is the artist’s own work and are used to reference geological history in some way. There are images from his “Beach Deaths” series made over many years along the Massachusetts coast, and the “Found Chalkboards” series, photographed in empty classrooms when he was teaching at a nearby university. The chalkboards are slightly altered and occasionally combined digitally with hand drawn elements. The birds’ nests are a suggestion of their creator’s descendancy from the ancient reptiles.
Ranalli has also used actual physical objects in some pieces, such as the shells and tails of horseshoe crabs (which have endured unchanged for over 350 million years), as well as fragments of whale bone, an animal we once hunted and now seek to save from extinction. The Robert Frost poem (“Some say the world will end in fire,/ Some say in ice.”…) played often in his subconscious as he worked the ideas through.
Daniel Ranalli grew up in coastal Connecticut. He has been working as a visual artist for over 40 years. His work is in the permanent collections of over thirty museums here and abroad including the Museum of Modern Art (NY), Museum of Fine Arts Boston, San Francisco Museum of Modern Art, Nelson-Atkins Museum and National Gallery of American Art (Smithsonian). He has been included in over 150 solo and group shows in the U.S. and abroad including the ICA Boston, Harvard Art Museums, Rose Art Museum, Davis Art Museum and the Peabody Essex Museum. Daniel has also been the recipient of two fellowships from the National Endowment for the Arts and multiple fellowships from the Massachusetts Cultural Council.
Although largely situated within the medium of photography, Ranalli’s work can often be characterized as conceptual and/or environmental. The work is frequently rooted in the balance between control and chance – such as the unforeseen results in the photogram, the found scrawls on a classroom chalkboard, the random selection of web searched images or the path of a snail in wet sand.
In 1993 Daniel Ranalli founded the Graduate Program in Arts Administration at Boston University where he taught until 2015. He also wrote extensively on artist issues for several publications in the 1980s and 1990s. Daniel Ranalli lives in Cambridge and Wellfleet, Massachusetts with his wife the artist, Tabitha Vevers.
SARAH HINCKLEY is a painter who lives and paints in Massachusetts. A thirteenth generation Cape Cod native, Sarah draws inspiration from beach, marsh and open sky, sourcing emotion and sampling the elements that surround her studio. She employs layered, nuanced color, motionful brushstrokes, confident bleeds and incidental marks to create minimal abstract paintings that allude to the surrounding landscape. Sarah received an MFA from Columbia University and BFA from Tufts University and Museum School of the Fine Arts Boston. Her work has been exhibited widely throughout the United States with including solo exhibitions at Cape Cod Museum of Art, Littlejohn Contemporary Gallery, Cahoon Museum of American Art, and DM Contemporary Gallery. Other exhibitions include Chandra Cerrito Gallery, Hallspace Gallery, Sarah Shepard Gallery, and Lanoue Gallery. In 2020, Sarah was invited to participate in an international collaborative project of 50 artists “The World is a Handkerchief Exhibition” organized by artists Cecilia Mandrile and Claudia DeMonte. The show opened at the London Print Studio Gallery in London, showed at the Elizabeth Foundation for the Arts in New York, and will travel to venues in Argentina and Jordan. Sarah’s work has been reviewed by Johnathan Goodman, Lilly Wei, and Laura C. Mallonee. Her paintings have been selected for the U.S. Department of State’s Art in Embassies program and private and corporate collections including Charles Schwab, Four Seasons Hotels, Memorial Sloan Kettering Cancer Center, and Mayo Clinic.
This is Sarah’s first exhibition with the gallery. The exhibition will consist of oil paintings on canvas and gouache and watercolor paintings on paper. Accompanying works are also available for viewing.
DERMOT MEAGHER studied Art at the Worcester Art Museum, Harvard College, the Provincetown Art Association and Museum, Castle Hill Center for the Arts in Truro, Massachusetts, the Fine Arts Work Center in Provincetown, Massachusetts, and The Cambridge Center for Adult Education. Among his teachers have been Paul Bowen, Rob Moore, Larry Collins, Brian Campbell, Ricardo Carlos Martinez, Raphael Noz, Eliot Hubbard and Elizabeth McDermott Meagher.
His drawings were described as “haiku-like and serene” by the Boston Globe, although he claims to have no idea where such tranquility comes from. “I draw fast and use whatever is within arm’s reach to make a mark—- pen and ink, pencil, Sumi ink, tar, tea, coffee, charcoal, watercolor, oil pastels and sometime mud with my fingers. I try not to ask too many questions while I’m drawing,” he says.
In 2001, his drawings were selected by curator Midge Battelle for the Provincetown Art Association’s Emerging Artists show. In 2002, he showed at the Wing/Pinske Gallery in New Bedford, Massachusetts. He showed at the Battelle/Harding Gallery in Greenfield, Massachusetts and at the Boston Athenaeum in 2003. In November and December 2004, his work was shown at the Jamaica Plain Art Market Gallery in Boston. His figure drawings and white line woodcuts (Provincetown Prints) were featured at the Stonewall Library in Fort Lauderdale in 2010 and three of his abstract paintings were included in a show at the Provincetown Art Association and Museum (PAAM) in 2012.
LINDA BOND presents Justice Series, 2021. These monoprint pieces present Justice Ruth Bader Ginsburg’s collars as graphic iconography layered over hazy images derived from the daily news. Reflecting on events of this past year, the artist juxtaposes symbols of justice with details of the current turmoil and injustices that we have been witnessing in this country. Linda Bond’s drawings and installations have been exhibited widely including shows at Kean University, Clark University, Delaware State University, Brandeis University, Simmons College, the Brattleboro Museum, the Cape Cod Art Museum, B’NK’R Munich, Germany, Museo de Arte de Zapopan, Jalisco, Mexico and the MFA in Boston. Her work is included in the Feminist Art Base at the Brooklyn Museum.
Linda has received awards from the Pollock-Krasner Foundation, the Puffin Foundation, the Chenven Foundation, the Artist Resource Trust, the Foundation for Contemporary Art and the Massachusetts Cultural Council. Her work was featured in Boston’s ArtScope magazine, Boston Voyager’s Trailblazer series, Rutgers’ Institute for Research on Women spring 2019 publication of Rejoinder and will be included in the forthcoming publications Emergence: the Role of Mindfulness in Creativity, and Loaded: Guns in Contemporary Art. A twenty year retrospective exhibition of Linda’s work at Drexel University, Errors and Omissions, is scheduled for October 2021 and her site-specific installation for the Eastern State Penitentiary Historic Site in Philadelphia was installed in May 2021.
Bond is a Summer Faculty member and a former Fellow of the Fine Arts Work Center and is currently a Resident Scholar at the Brandeis Women’s Studies Research Center.