EastEnd - Art Market Provincetown

artmarketprovincetown.com
ART MARKET PROVINCETOWN
a live gallery space
EastEnd
432
2016 Season
AMP
AMP
432 Commercial Street • East End
PO Box 807 (mail) | 646.298.9258
[email protected]
www.artmarketprovincetown.com
Debbie Nadolney, Director + Curator
ARTMARKET
PROVINCETOWN
a live gallery space
432
2016 Season
Opening Receptions | 6 to 9 PM | Fridays
Fri, May 27 Jamie Casertano, Frank Mullaney, and Christopher Turner.
Fri, June 10 Bobby Busnach, David Macke, Alice O’Malley, Gail Thacker, and Conrad Ventur.
Film Festival
Screenings and Talks (TBD). Plus a film by Shaari Neretin.
Fri, July 1 Steven Baines, Judy Mannarino, Christopher Sousa, Forrest Williams, and
Juan Pablo Echeverri.
Fri, July 15 Karen Cappotto, Larry Collins, and Pasquale Natale.
Fri, July 29 Mimi Gross, Marian Roth, Jicky Schnee, Bebe Beard, Mary Deangelis,
Zehra Khan, and Karen Cappotto.
Fri, Aug 12 Katrina del Mar, Bobby Miller, Eileen Myles, Christopher Tanner, Jay Critchley,
and Shania LeClaire Riviere.
Fri, Aug 26 Midge Battelle, Bebe Beard, Barbara Cohen, Anne Corrsin, M P Landis,
Arlene Shulman, and Cindy Sherman Bishop.
Fri, Sept 16 John Brattin, Linda Leslie Brown, Dana Ellyn, James Montford, and Matt Sesow.
Fri, Oct 14 Susan Bernstein, Terry Boutelle, Karen Cappotto, Megan Hinton, Marsha Lieberman,
Nancy Marks, Jeannie Motherwell, Judith Motzkin, and Champa Vaid.
Ongoing
Potty Oracle, an in-loo-in-gallery installation by Heather Kapplow.
Ongoing
The Life of Objects, an installation in the +20inches gallery by Ellen Rousseau.
Ongoing The Other Side, an outdoor installation Richard Dorff.
Happenings For details on live events, please visit: www.artmarketprovincetown.com/happenings
Opening Reception — Friday, May 27, 6-9 pm
May 20 – June 9
JAMIE CASERTANO | I’ve Been Here Before
“Photography, for me, is an ongoing visual exploration of the
broad scope of emotion and experience. A determined attempt
to get behind and beyond the ubiquitous smiles that greeted me
whenever I lifted my camera during the early and formative years
of my taking pictures. Most interesting to me are moments that
are revealing and give glimpses of one’s inner world. Also, in observing objects, iconography and spaces as clues and metaphors.
Understanding that the camera can often serve as a key of sorts
to circumstances and settings that might otherwise be inaccessible or overlooked intensifies my desire to photograph them. Curiously I seek images that can be found in both the elusive dark
corners and brightly lit stages of personality.
I’ve Been Here Before is a collection of photographs that consider
the potent nature of nostalgia, recollection, intuition and the feelings
these states of mind produce both pleasant and odious. Furthermore
a visual study of forms and symbols that evoke memories, along with
their varying implications, and
the manner in which they are
kept and displayed.”
Jamie Casertano was born
I’ve Been Here Before, photograph
by J. Casertano
in Brooklyn, New York on
Christmas Day in 1972. His discovery of photography occurred as
a child in his father’s basement darkroom. The urge to take photographs soon followed and later led him to study photography.
Beginning in NYC, and continuing presently in Provincetown, his work
initially gravitated toward subculture, nightlife, and nonconformity. He’s
influenced by the works of Diane Arbus, Ralph Eugene Meatyard, Nan
Goldin, Peter Hujar, Yasumasa Morimura, and Martin Parr.
Casertano studied photography with Mark Asnin, among others, at the School of Visual Arts. He had two solo exhibitions at
the A Gallery in Provincetown, and his photographs are in the collections of the Leslie-Lohman Museum of Gay and Lesbian Art in
New York, and the Provincetown Association and Museum. His
work has been published by Provincetown Arts Magazine, The
Boston Globe, and Simon & Schuster.
Stag, photograph by J. Casertano
FRANK MULLANEY | Wallpaper Saints
“The series, Wallpaper Saints, was inspired by the holy prayer cards I
collected during my Catholic youth. As an altar boy, I used them to pray
against the dawning awareness of my homosexuality. Yet the homoeroticism of many of the religious images only exacerbated my confusion,
causing me to careen from shame to lust and back again. With this project, I’m photographing gay and trans men and women, each seemingly
lost in a moment of transcendence. I’m working to reject the self-shaming associations I had with these religious images while simultaneously
acknowledging their erotic charge.
The use of the word ‘saint’, for me, conjures up the pain and sometimes torment that gay people of my generation experienced growing
up. Just as we emerged from the shadows to celebrate our sexual orientation, we, as a people, were faced with and often struck down by the
AIDS epidemic. But the majority of the gay community, many of them ill
themselves or in a cloud of incomprehensible grief, learned to forgo
self-centeredness and to care for
others, performing unheralded
but necessary acts that ultimateLuke of the Flowers, photograph by
ly would lead to a stronger, closer,
F. Mullaney
more self-aware community.”
Frank Mullaney was born in Cambridge, Massachusetts in 1957
and moved to New York City in August of 1977, the same week Elvis
Presley died and Son of Sam was apprehended.
Movies and photography shaped his early years and gave him a
way to make sense of his world. He spent his weekends watching
Hammer Studio horror films at the Capital Theater and picked up
his first camera at nine years old, a Kodak 110 Instamatic. A year later he owned a Polaroid Swinger that he took with him everywhere.
In 2006 he began a formal education in photography at The International Center of Photography.
His work has been exhibited in New York City; Provincetown, Los
Angeles, the California Museum of Photography in Riverside, CA,
the Center for Fine Art Photography in Fort Collins, Colorado, and
numerous galleries in the Catskills.
JMY with Bird, photograph by F. Mullaney
Frank divides his time between NYC and Livingston Manor, NY.
CHRISTOPHER TURNER | Queer Elders
“I’m currently working on a series focusing on Queer Elders.
I want to emphasize eldership in the sense of leadership and
influence. This is the beginning of a series of portraits and video
interviews of LGBT leaders, icons and elders—all over 60 years
old. The interviews focus on each individual’s queer history. I
feel it’s important to record the stories of those who were part
of the LGBT rights movement and the sexual revolution. What
was it like growing up queer in the 30’s, 40’s or 50’s? These
subjects came of age in a time when homosexuality was considered both a crime and a mental illness. My goal is to work
with 40-60 elders for this series.
I chose to do a very straight-forward large format headshot
for each subject. I want to show these individuals as heroic—
not only for coming out when they did, but for being activists
and leaders in the community. I feel these larger than
life prints bring a sense of
intimacy and shows the
depth of these faces.
Most of my photographs
Michael Cunningham, photograph
tend towards a darker, more
by C. Turner
contrasted palette. It’s my
goal to explore lightness and
dark in the tones as well as the emotional content of my work. In
addition to my portrait series I’m currently working on a series of
long-exposure nighttime landscapes.”
Christopher Turner is an emerging artist who attended
New York University where he received a B.A. in Art History
and Psychology in ‘93. He is largely self-taught as a photographer. He has been doing portrait and landscape photography
full-time for the past three years and part time for over 12
years. Prior taking on his preferred vocation full-time he was
a web-developer.
Some of his work was recently part of a group show with SLATE
Art (Berkeley) and his nighttime landscape series is being shown by
Jewelle Gomez, photograph by C. Turner
Poetica Art (San Francisco).
June 10 – June 30
Opening Reception — Fri, June 10 6-9 pm
BOBBY BUSNACH | Fags, Hags and Wannabees: Scenes of Tribal Grit, Glam &
Camp from the 70s
Bobby Busnach was born on September 16, 1955,
in Cambridge, MA. Embracing the 1960’s counter-culture, he rebelled, fought with his teachers,
smoked pot, tripped on acid, and started to run
away from home at the age of 12. By 15, decked
out in his A. Smile baggies and 6-inch platforms,
the glitter boy lived on the streets of Boston and
Cambridge, hustling on Commonwealth Ave. to
survive. He “came out” of his closet that year and
became a regular at the Other Side, a gay bar
frequented by fags, hags, drags, dykes, and wannabees, not to mention pimps, hos, and hustlers,
a world also documented by fellow habitué, phoGerry and Chuck, photograph by B. Busnach
tographer Nan Goldin. These ‘dregs-of-society’
became Bobby’s family.
In 1973 Bobby and best friend Geraldine moved to New York City, where, influenced by Bowie,
Fellini, Warhol, Hurrell, Helmut Newton, and the classic films of old Hollywood, Bobby began documenting the times and family of friends through photography. Carefully staged; much time was
spent creating the perfect look with clothing, lighting, and makeup, taking pictures through the night
and into the morning to the accompaniment of pounding disco music and Quaaludes.
Gerry, photograph by B. Busnach
Fayja, Queens, NY 1974, photograph by B. Busnach
DAVID MACKE | “chthon-ic” 2016
”If we were to see them in their glorified forms
we would be tempted to bow down and worship them.” – C. S. Lewis, The Weight of Glory
“Through photography and video my portraiture explores the classical and contemporary iconography of performing manhood and
the wild natures of boys becoming men. Some
of our greatest cultural icons transcend standard male gender ideals, despite being outsiders with exaggerated expressions of the masculine. Consider the glorification of Rudolph
Valentino (b. 1895), John Wayne (b. 1907),
Montgomery Clift (b. 1920), Marlon Brando
(b. 1924), Rock Hudson (b. 1925), Andy Warhol
(b. 1928), James Dean (b. 1931), Elvis Presley
(b. 1935), David Bowie (b. 1947), Billy Idol (b.
1955), Michael Jackson (b. 1958), Brad Pitt (b.
1963), Kurt Cobain (b. 1967), River Phoenix (b.
1970), Leonardo DiCaprio (b. 1974), Tom Hardy
(b. 1977), and Justin Bieber (b. 1994) who have
gained wide mass sexual appeal. Such men
steer society’s notions of masculinity, as well as
sexuality, by establishing mythic identities that
transcend or adopt ideals of popular normative
male posturing. Usually, this is in dialogue with
the male and female ideals, under the specter
of commercial identity, the self as performance
art; i.e., performing the masculine.”
David Macke is Artistic Director, YOUR
“chthonic,” 2016 video still, by D. Macke
NAME HERE: Theatrical Productions, yournameherequeer.org; Film director: Jeremy
and Big Al. Visual work includes: Riverzine: A Tribute, Whitney Museum of American Art; Video Portrait
Exhibitions: ArtSTRAND, AMP Gallery; Queer Portraits Videos; Queerocracy Symposium PhotoFeast. Art
books: NY Art Book Fair, MoMA PS1; LA Art Book Fair, The Geffen Contemporary at MOCA; 80WES Gallery, Printed Matter Pop-up Shop, NY; 8 Ball Zine Fair, NY Art Book Fair at MoMA PS1. Artwork: Marginal
Press, Tokyo; Art Metropole, Toronto; ARTBOOK@ MoMA PS1; PM@Walker Art Center; Printed Matter.
ALICE O’MALLEY | Lesbian Poetry
Alice O’Malley is a New York photographer whose work is exhibited in galleries and museums internationally, and regularly
appears in art, culture, and fashion magazines. Her monograph,
Community of Elsewheres, is a photographic archive of a circle
of New York artists at the turn of the millennium. It was published in conjunction with a solo exhibition by the same name.
She teaches at the International Center of Photography.
Exhibitions have included: MOCA, “Art AIDS America”, Los
Angeles, 2015; Art Gallery of Ontario, “Fan the Flames: Queer Positions in Photography” Toronto, 2014; Ryerson Imaging Center,
“What it Means To Be Seen: Photography and Queer Visibility”
Toronto, 2014; Schoolhouse Gallery, Provincetown, MA, 2014;
Ono Contemporanea, Bologna, Italy, Fall 2013; Strange Loop
Gallery, “Kenny Kenny 13”, 2013; Andrew Edlin Gallery, “B-Out”,
2012; A.I.R. Gallery, “Illegitimate and Herstorical” 2012; Sue
Scott Gallery, “Lush Life”, 2011; PS 1, “Greater New York”, 2010;
New York Photo Festival, “Lou Reed’s Pavilion”, 2010; Mulry Fine
Art, West Palm Beach, 2010; International Center of Photography Museum Triennial “Dress Codes” NYC, 2009; Centre Culturel
Calouste Gulbenkian, “Au Feminin” Paris, 2009; agnes b. galerie
Lesbian Poetry, photograph by A. O’Malley
du jour, “6 Eyes” Paris 2009; CEPA Gallery, “Many Moons” Buffalo, NY, 2009; ICP Museum, “This is Not a Fashion Photograph” NYC, 2009; Nina Freudenheim Gallery,
Buffalo, NY, 2008; Isis Gallery, London, 2008; Participant Inc., “Community of Elsewheres” NYC, 2008;
Mitchell-Innes & Nash, “A Rabbit as King of the Ghosts”, NYC, 2007; Participant, Inc., “Blow Both of Us”,
NYC, 2007; ABC No Rio Biennial, “Ides of March”, NYC, 2006; PS 122 Gallery, NYC, 1999.
ETHAN SHOSHAN | Screen Tests for
Disappearing into the Ocean
Goodbye, Screen test video still, achival
pigment print, 12” x 18”, 2015, by E. Shoshan
The two pieces featured in this exhibition are stills from an immersive performance where the artist slowly tries to erase his
body into a projected video of an ocean. The video of the ocean
was taken in Provincetown, capturing the light reflected off ocean
waves, glaring bursts in a luminous expanse of water.
Ethan Shoshan’s performances often use out-of-date technology to highlight the frailty of capturing experience and allude
to intimations of mortality. Inspired by celluloid as a tangible material between life and representation through light, he sees performance as a doorway to the unconscious.
GAIL THACKER | Polaroid Theatre
“These portraits are created with artists who are expressing themselves through their medium- their bodies, their sense of selves. While in flux, a spontaneous
state of play occurs as a one-time performance among
the artist, myself and the viewer.”
Gail Thacker has for decades used the inherent instability of Polaroid film as an active component in her
portraits and cityscapes. By deliberately evading fixing
protocols and placing her negatives aside for as long
as a year after exposure, she subjects them to a series
of random changes and distortions, and the resulting
c-prints have a vibrancy and life that could only originate in the ethers of science and chance. The intensity
of Thacker’s images also comes from her choice of theatrical and transgressive subjects and her ability to find
Joey Gabriel in Brooklyn, c-print from
Polaroid, 2009 by G. Thacker
her vision at the edge of coherent perception.
Thacker’s work has been seen in exhibitions at museums
and galleries including Centro Galegode Arte Contemporánea
(CGAC), Santiago, Spain and Safety Gallery, the June Bateman
Gallery, Elizabeth Dee Gallery, Clamp Art and Participant Inc
in New York. Her Polaroid work is included in such collections
as The Polaroid Collection (Somerville, Massachusetts USA),
FotoMuseum (Winterthur, Switzerland), CGAC (Santiago,
Spain), the Fisher Collection (Florida, USA) and The New York
Public Library and featured in publications such as, The Polaroid
Book (Taschen Publication), There was a Sense of Family; The
Friends of Mark Morrisroe (Moderne KunstNürnberg), Mark
Dirt (Paper Chase Press), TABBOO! The Art of Stephen Tashjian
(D.A.P. Distributed Art Publishers, Inc.). Along with articles in
such newspapers and magazines such as The New York Times,
The Daily News, The New York Press, The New Yorker, Providence
Town Magazine, The Village Voice, and a soon to be released book
on her Polaroid art which will include an introduction by Rafael
Sánchez along with essays by Eileen Myles, Barbara Hitchcock
and Manuel Segade (to be published by The City University of
Rafael Sánchez, NJ apt, mixed, c-print, from
New York Press).
Polaroid, 1992, by G. Thacker
CONRAD VENTUR | Atlantis
Collaborators Conrad Ventur and
Mario Montez were active between
2010 and 2013. Through various
photography and video experiments, Ventur encouraged Montez
(Ridiculous Theatrical Company)
to return to performance, including the live green screen piece, Atlantis (2011). Montez passed away
in September 2013.
“Montez, born René Rivera
in Ponce, Puerto Rico, became
famous in the ’60s. Referred to
as the first “drag queen superstar,” he acted in the films of
Andy Warhol and Jack Smith,
among others. In 1972 he starred
in Agripina é Roma-Manhattan,
an unfinished film by artist Hélio Oiticica, and then Montez
seemingly vanished into thin air.
In fact, he had simply moved to
Video grab, Atlantis, 2011, digital video, 1:42, by C. Ventur
Florida and retreated into private
life. Conrad Ventur came into Montez’s life in 2010, when Montez appeared at a symposium in New
York. Ventur was interested in the ’60s and had been working on restaging Warhol’s screen tests
with those actors who were still alive and willing to work with him. He met Montez, who had done
“Screen Test No. 2” with Warhol in 1965, and convinced the former superstar to participate in the
project.” – Courtesy of Hyperallergic
Conrad Ventur is a multi-media artist based in New York City. Screenings of Ventur’s work have included The Andy Warhol Museum, C/O Berlin, MoMA, Participant Inc. and the Yerba Buena Center. A
volume of Ventur’s videos were recently acquired by The Whitney Museum of American Art. He is also a
recent Franklin Furnace Fund grantee. In addition to film/video projects, he chronicles his New York life
through photography and publication projects like Useless Magazine.
“Working within the media of photography and video, Conrad Ventur is interested in activating moving image archives, whether finding material online or looking at specific underground
film archives and repositioning them in exhibition formats. He often brings together pioneers of
living theater with a younger generation of performers in live and recorded environments. Ventur
is most known for his re-creation of Andy Warhol’s screen tests using the same central figures
from Warhol’s Factory studio.” – Courtesy of Participant Inc.
Opening Reception — Fri, July 1, 6-9 pm
July 1 – July 14
STEVEN BAINES | Laugh at My Jokes and Tell Me I’m Handsome
Steven Baines’ paintings aim to encourage an escape, to draw one in as beautiful and light, like a whimsical daydream. Eventually this light heartedness could get contradicted by deeper thought and complex
emotions. The birds in the paintings can be seen as having a hard time expressing emotion, with mouths
made of stiff beaks and faces under smooth feathers. This ambiguity of emotion can be relatable to us
humans too, never knowing what is really in others heads or how we feel. Bubbles are a classic symbol
of our ephemorality and UFOs can be seen as springboards for thought about why we are here and for
what purpose like in old timey religious art. However, they are not heavy or morbid. They are optimistic
and humorous, like sad, dark lyrics in a catchy lighthearted melody.
Steven Baines lives in New York City and works from his studio in Williamsburg, Brooklyn where his
primary focus is on oil painting. He received his BFA in painting from The School of Visual Arts. Baines currently has a show at The Grand Central Library in NYC. He has exhibited his work at Temporary Storage
Gallery, Stephen Romano Gallery, New York, White Columns, New York, Brooklyn Fireproof, Brooklyn, The
South Street Seaport Museum, New York, Local Projects, Queens, Artists Space, New York, Pat Hearn Gallery, New York, Visual Arts Gallery, New York, AMP Gallery in Provincetown, and several others. He has also
shown with Stephen Romano Gallery at art fairs such as The Metro Show, New York, ART Now, New York
and Pulse, New York/Miami. He was recently the featured artist on BRIC and onefive4gallery.
Head in a Cantaloupe, oil on canvas, by S. Baines
Laugh at My Jokes and Tell Me I’m Handsome, by S. Baines
JUAN PABLO ECHEVERRI | Future Strangers
“This is a recent series having to do with the way we relate to people in social networks nowadays, and where
we can construct and present ourselves to the world in a profile picture. I am interested in how we relate to
thousands of strangers that we carry in our social networks, and how a new friend request from a stranger is
the opportunity to be linked to them. At the same time, people we have related to in real life can disappear by
deleting them from a social network, thereby turning them into total strangers.”
Juan Pablo Echeverri was born in 1978 in Bogotá, Colombia, where he lives and works. His work has
taken part of several group and solo show in galleries and museums around the world, such as The Photographers´ Gallery in London, The Havana Biennal in Cuba, Itau Cultural in Sao Paulo, Museum of Modern
Art in Bogotá among others. He has taken part in Residencies in England, Mexico and Brazil, and his work
has been included in Publications such as Younger than Jesus Directory published by the New Museum
and Phaidon in 2009. His work is part of the permanent collection of Banco de la República in Colombia
and CA2M in Madrid, Spain as well as other private collections.
He was recently a Fellow at the Fine Arts Work Center in Provincetown.
Future Strangers, pigment prints, 78 x 78 cm (30.70 x 30.70”, each), by J. P. Echeverri
JUDY MANNARINO | Saints & Sinners
“What does a masked woman, a broken clown’s nose, a
bird and solidified paint strokes have in common? Except
for the desire to keep myself amused and entertained, my
paintings are never about just one thing. I pull from a grab
bag full of emotions, psychological complications, formal
and abstract constructions and ideas. I begin with a narrative that remains consistent from start to finish, unlike the
physical properties of the painting which transform daily.
I continue to work on series of paintings that are
engaged in the exploration of altered emotional and
psychological states of women; coupled with ideas of
beauty, attitude and consequence. Each painting is
the product of memory, perception and shifting points
of view. I combine humor and dead serious drama in
these paintings. The images depict the predicament of
women revealing the inner and outer results of “covering
up” and “acting out” through ornaments, disguises and
facial distortions, exposing vulnerability and conflict.”
Judy Mannarino has exhibited her work throughout
the world. Her most recent exhibitions include: 2015
“Faculty”, Mary Mount Manhattan College, NY, “Page/
Pagina”, Antica Libreria Cascianelli, Rome, Italy, “The
Selfie & Others”, Mary Mount Manhattan College, NY;
2014 “Misrepresentation”, Lesley Heller Workspace,
New York, NY; 2014 “Spinning Fiction”, 17 Frost Gallery,
Who Nose, oil on canvas, 10 x 8”, by J. Mannarino
Williamsburg, Brooklyn; 2014 “I’ll Be Your Mirror”, AMP,
Provincetown, MA; 2012 “Faculty”, Hewitt Gallery of Art, NY; 2011 “Threads Of Continuity”, Gallery Bergen,
Bergen CC, Paramus, NJ; 2010 “Faculty I, Hewitt Gallery of Art, Marymount Manhattan College, NY; 2009
“Octet”, Pera Museum, Istanbul, Turkey; 2008 “Fresh”, CAM Gallery, Istanbul, Turkey; 2006 “Diversity”,
Sulkin/Secant Gallery, Santa Monica, CA; 2005 a solo show at ELL Art Exchange, Los Angeles, CA; 2004
“New Work”, ELL Art Exchange, Los Angeles, CA; 2003 “The Shoe Show”, Project Room 88, NY; 2002 “New
York 1998”, Terrain, San Francisco, CA; 2001 “Imaginative Liberties”, The Work Space, NY.
Her work has appeared in numerous publications, among them: Kuspit, Donald. “42nd Biennial”,
Artforum, 1992; Richard, Paul. “Abstract and Personal”, The Washington Post, September 6, 1991;
Gibson, Eric. “42nd Biennial of Contemporary Painting”, The Washington Times, 1991; Myles, Eileen.
“New York Reviews”, Art in America, 1990; Gerlach, Gunnar. “New Yorker in KX”, Hamburger Morgenpost, 1990; Mahoney, Robert. “New York Reviews”, Arts, 1990; Hess, Elizabeth. “Judy Mannarino”,
Village Voice, 1990; Ahrens, Klaus. “Durchblick im Labrinth Der Farben”, Art, 1986.
CHRISTOPHER SOUSA | A Door Within the Fire
“My painting has always been about the face and/or figure, but most often depicting the male. My inspiration comes from people I see or meet, and a desire to investigate and document the complexities
of their distinctiveness.
Recently I’ve become interested in exploring the male portrait beyond the conventional perceptions of masculinity. Eschewing elements of “manly” coarseness and clichéd machismo, I’m attempting instead to depict a softness and beauty traditionally associated with portraiture of the female. “
Christopher Sousa was born in Fall River, MA and has lived and worked in Provincetown, MA since
2003. His portraits and figures explore themes of isolation, alienation, longing and desire. He counts
Lucien Freud, Jenny Saville, Paul Cadmus and Euan Uglow among his influences. Sousa has studied with
Larry Collins and Donald Beal. He is represented by AMP in Provincetown and the Woodman/Shimko
Gallery in Palm Springs, CA. He has exhibited in solo and group exhibitions at the Provincetown Art
Association & Museum, A Gallery, and Larry Collins Fine Art in Provincetown, MA, The Leslie-Lohman
Museum in New York, NY, The URI Feinstein Providence Campus Gallery in Providence, RI, and Reynolds
Fine Art in New Haven, CT. Sousa’s work has been the subject of articles in The Provincetown Banner, IN
Newsweekley, Provincetown Magazine, The Art of Man, Provincetown Arts, OCHO and the online publications Qind, TOH, The Portuguese American Journal, Homodesiribus and Advocate.com.
Cody, oil on canvas, 30 x 30”, by C. Sousa
Jacob, oil on canvas, 30 x 30”, by C. Sousa
FORREST WILLIAMS | Lowlands
“I set out to express strong emotion through restrained
movement, context, and structure—to find the place of
tension between the containment and expression of
feeling—a portrayal of consciousness and, perhaps
more exactly, a sense of self-consciousness.
In this latest work, much of it inspired by my experiences in Provincetown, I set out to convey a sense of
air, natural light, atmosphere, and organic form, along
with a palette shift to muted grays and blues. This differs from the confined, hermetic spaces, pattern and
Lowlands, Sentinel, oil on panel, by F. Williams
geometry, and strong color of past work. There exists a
situational, narrative ambiguity, where the addition of small buildings function, at times, as other characters.”
Forrest Williams has shown his work in numerous solo and group exhibitions in the US and Canada.
Solo exhibitions have includes: 2014 “Arrival” AMP Gallery, Provincetown; 2010 “Crossways” Marx & Zavattero, San Francisco; 2007 “Porches” Heather Marx Gallery, San Francisco. Group exhibitions include:
2013-14 “Hello, Goodbye” Dolby Chadwick Gallery, San Francisco; 2012 “Seen” Visual Aid Gallery, San
Francisco; 2011 “The Elegance of Refusal” Gensler, San Francisco; 2009 “Seldom Seen” Leslie/Lohman
Foundation; NYC; 2008 “Color Key” The Painting Center, NYC.
RICK WRIGLEY | Untitled #1
Untitled Sculpture #1, Cambarra Mahogany,
paint, brass nails, 32” x 36” x 47”, by R. Wrigley
Rick Wrigley is embarking on a new career in sculpture after 25
years as an art-furniture designer and maker, and over 10 years
designing and building houses.
For his furniture work, Rick was a recipient of the Mass
Cultural Council/New England Foundation for the Arts Regional
Fellowship in the Visual Arts. He has shown at The Museum of
Fine Arts, Boston; The Smithsonian Museum of American Art, DC;
The American Craft Museum, NY; The Musée des Arts Décoratifs
in Montréal; The Milwaukee Art Museum; The Oakland Museum;
The Flagler Museum, Palm Beach, FL; The Fuller Museum of Art,
MA; and The Cape Cod Museum of Art. His work is included in
the collections of the Smithsonian Museum of American Art’s
Renwick Gallery, Smith College Museum of Art, and The Boston
Public Library. He has executed commissions for The Isabella
Stewart Gardner Museum; Springfield Museum of Fine Arts, The
Legislative Office Building, Hartford, CT; Babson College Interfaith
Chapel, and the U.S. Embassy in Amman, Jordan.
July 15 – July 28
Opening Reception — Fri, July 15, 6-9 pm
KAREN CAPPOTTO | In My Own Defense
“Whenever I see a chair abandoned on the curbside, I am reminded of one particular scene in the ‘70s comedy “The Jerk”:.
Steve Martin grabs an item that he absolutely must have before
he walks out the door, and says: “All I need is this chair...”
I frequently see them discarded and up for the taking.
Whether it is a generic office seat haphazardly held together by
strips of black tape or an exquisite abandoned Bentley rocker,
they are equally odd and interesting.
I have come to find these chairs so visually alluring that
in turn they create a dialog/language for abandonment, displacement, and transition. Tossed by society into a social
bin, in the midst of our accelerated gentrification, now only In My Own Defense (detail), oil, mixed on paper,
2016, by K. Cappotto
a very few have a seat at the proverbial table. This can and
does have lasting implications. Perhaps these chairs I find on the side of the road are a call to consider the preservation of a habitat that has always thrived on diversity.”
Karen Cappotto is inspired by evidence of the handmade in a world where technology prevails. She is
known for her distinct way of combining vintage materials. Her collage works are, in part, a meditation on the
tension between the artisanal and earlier articulations of mass production. Using a palette comprised of vintage
periodicals, maps, ledgers, and antique papers, she recalibrates and reframes the sites of a previous authorship
into a newly imagined terrain. Karen studied at The School of the Museum of Fine Arts in Boston, the Fine Arts
Work Center in Provincetown MA, Boston College, and
Manchester College at Oxford University.
Cappotto’s work is in various museums and collections, and she has received multiple awards for
her mixed media constructions. One of her collage
pieces was awarded joint first prize in the 2010 International Picture Works Competition. The prize
also included a national poster/postcard blitz worth
over 25,000 euros. She has also been included in
the Land and Sea Contemporary Artists, by Deborah Forman published Spring 2013. Cappotto exhibits regularly in Provincetown, Palm Beach, and
Charlotte, NC. In 2015, she completed a six-week
residency at the Vermont Studio Center. Cappotto’s
paintings particularly came on the radar after winning the Lillian Orlowsky and William Freed Grant for
painting, and having two successful Museum shows.
All I Need, oil, mixed oncanvas, 2016, by K. Cappotto
LARRY COLLINS | Remember Me
“My latest paintings are based on my experience as an infantry soldier in the Vietnam War.
They are ideal portraits of young men I knew
who were killed there.
The brush work and color are decidedly expressionistic and my inspiration comes from
a diverse field, Tintoretto and Edvard Munch,
and the surreal films of Jean Cocteau. From
antiquity I have looked to Greek and Roman
marbles as well as the idealized Olmec jade
masks of ancient Mexico.
The largest painting in this exhibit is a
marine nocturne. It began as a calm, glassy
sea reflecting the moon, however it has become a raging storm, like war, whose power
is utterly overwhelming.”
Larry R. Collins was born in Spokane,
Washington, in 1945 and raised in Del City,
Oklahoma. His artistic career began at age
17 when Dorothy Miller, former curator at
MoMA in New York, selected one of his abstract paintings for an important regional
exhibition at the Oklahoma Art Center. After
receiving his BFA from the University of OK
in 1967, he was drafted into the Army and
sent to Vietnam. During the war he served as
an infantryman and a combat illustrator. He
received his MFA from the Massachusetts
Vietnam Still Life, oil on canvas, 50 x 36”, 2015 by L. Collins
College of Art and Design in 1980. Collins
has exhibited internationally, and his paintings, drawings, photographs and artist’s books are
included in the permanent collections of the Museum of Fine Arts, Boston, International Center
of Photography, Sheldon Art Museum, Wadsworth Atheneum, Worcester Art Museum, PAAM,
and others. He has collaborated on limited-edition books with poets Allen Ginsberg, Lawrence
Ferlinghetti, and Eileen Myles. In 2010 he was honored with a career retrospective exhibition at
the Provincetown Art Association and Museum, “Larry R. Collins: Finding Light.”
PASQUALE NATALE | Chairs
“They are serious, his chairs, their plain shapes insisting on
a straight back and level gaze, feet flat as a field or a board.
The finish is two thousand degrees hard and so smooth it is
nearly impossible to sit without sliding like a fool to the floor.
But look again: the artist has endowed his chairs with mercy,
slumping their backs humbly so that they appear not fixed
but flexible in their devotion. Some of them are intertwined,
like a piggy bank whose treasure is unattainable without being broken, which, paradoxically, some already are; broken
and perfect as in the lack of nothing essential to the whole.
Chairs are meant to hold, to elevate, to save us from the difficulty of having to get ourselves up off the ground. But midepidemic, Pasquale’s chairs began melting, the safety they
inferred no longer anything any of us could count on. Is it a
coincidence that they are ceramic? Because no matter how
Chairs, in progress, mixed, by P. Natale
deformed they grew, surely he understood that, once fired,
they would remain intact for thousands of years, that some essential gesture of his would outlive illness
or sorrow. In this sense, context is everything, no? For who, digging with a spade in the garden one day
far into the future, would unearth such objects and not be delighted by the fact of them glinting in the
morning sun?” – Melanie Braverman, Provincetown Arts Magazine
Pasquale Natale graduated from the School of the Museum of Fine Arts, Boston, MA. He is
both artist and curator. Numerous solo exhibitions of his work include: 2013 and 2015, A Gallery,
Provincetown; 1998, 2000-01, 2003-06, The Schoolhouse Gallery, Provincetown; 2003, Battelle /
Harding Gallery, Greenfield MA; 1998, Carrie Haddad Gallery, Hudson, NY; 1994-96, Albert Merola
Gallery, Provincetown; 1993, “Chairs,” Academy of Performing Arts, Orleans MA; 1992-93, Berta Walker Gallery, Provincetown.
Group exhibitions over the years include: 2013-14, at A Gallery and PAAM; 2014, AMP Gallery,
Provincetown; 2012, A Gallery, FAWC, and PAAM; 2011, ARTStrand, Provincetown and PAAM. Other
gallery shows and permanent collections include: Barbara Krakow Gallery, Boston; Cape Cod Museum of Art, Glimpses of Provincetown Collection; The Collection of the Provincetown Art Association
and Museum; Barbra Mathes Gallery, NYC; Grammercy Park Hotel, NYC; Chateau Marmont Hotel,
Los Angeles; ART Chicago Art Fair, NYC; Santa Fe Art Fair, Santa Fe; Takara Gallery, Houston; 1995
Armory Show, NYC; Citicorp Building, NYC; Watershed Center for the Arts, N. Edgecomb ME.
As a Curator, Natale has been responsible for exhibitions including: 1993, “Positive Alliances,” PAAM;
2000, “The Art Colony’s First Century,” PAAM; 2001, “Emerging Artists,” PAAM; 2007, “James Hansen Retrospective,” PAAM; 2012, “Getting to Zero,” Art Current; 2013, “Susan Baker, Painting a Building, Building a
Painting,” PAAM; 2013, “James Balla, Into the Blue Again,” PAAM; 2014, “Couples/ Duos,” PAAM.
Opening Reception — Fri, July 29, 6-9 pm
July 29 – August 11
MIMI GROSS | ‘Night Skies’; and more, ‘Looking up!’
“My work initiates with drawing, and for me drawing is an extension of my arm. I’m interested in what I see, surrounding
atmospheres of everyday life, and the macroscopic worlds
within mixed mediums, mixed scales, all are of interest.”
Mimi Gross is a painter, set and costume designer for dance,
and maker of interior and exterior installations. She has had several international exhibitions, including work at the Salander O’
Reilly Galleries, and the Ruth Siegel Gallery, New York City, the
Inax Gallery, Ginza, Tokyo, and Galerie Lara Vincey, Paris. She
has also shown work at the Municipal Art Society and at the Port
Authority Bus Terminal, New York. Her anatomically-themed artwork is on permanent display, courtesy the New York City Parks
Department, at the Robert Venable Park, East New York.
Her work is included in numerous public collections, including the Metropolitan Museum of Art, the Art Institute of Chicago,
the Hirschhorn Museum and Sculpture Garden, the Museum of
Night Sky, mixed, by M. Gross
Contemporary Art in Los Angeles, The Brooklyn Museum, the
Jewish Museum, le Musee des Art Decoratifs in Paris, the Nagoya Museum of Art, the Onasch Collection in
Berlin and the Lannon Foundation, as well as the Fukuoko Bank in Japan and New York’s Bellevue Hospital.
Current exhibitions and lectures include: Brooklyn Museum, NY, “Macquette for Coney
Island”(Stephen Powers, Coney Island is Still Dreamland); Brattleboro Museum of Art, Brattleboro, Vermont, “After Old Masters” (thru summer 2016), “Triumph of Pan, after Nicholas Poussin”; drawings in
April 2016, “Brooklyn Rail”, Anne Waldman, visiting critic; lecture: “Evolving Collaborations”, “Sundays on
Broadway” with Douglas Dunn, choreographer and dancer, May 22, 2016; set for “Solos”, Douglas Dunn
studio, May 31-June 5, 2016; teaching: Sarah Lawrence College, Bronxville,NY, Workshop with graduate
theater students, April 2016; mural for University of Kentucky Medical School, summer 2016.
Gross has been the recipient of countless awards and grants including from the New York State
Council on the Arts, twice from the National Endowment for Visual Arts, the American Academy &
Institute of Arts and Letters, and a “Bessie” for sets and costumes.
She held the McMillan/Stewart Endowed Chair in Painting at the Maryland College of Art in 20102011, and has taught at the Art Institute of Chicago, the Rhode Island School of Design, the Penland
School of Crafts, Syracuse University, SUNY Purchase, as well as other universities and educational
institutions, giving workshops and advising students, as a visiting artist.
From 1960-1976 Gross collaborated with Red Grooms on many large, multidimensional installations, including the fabled “Ruckus Manhattan”. Since 1979, she has collaborated in a fruitful and on-going partnership with the dancer Douglas Dunn and his company, designing sets and costumes for his performances.
She also collaborated with the poet Charles Bernstein. Her on-site drawings of the World Trade Center
from 9/11 and after are included in the volume, “Some of These Daze”, published by Granary Books.
MARIAN ROTH | Time and the Town, Paintings + Monoprints
“Time and the Town is the title of a wonderful book about Provincetown written in 1942
by Mary Heaton Vorse. I have always loved this
title because it comes close to summarizing
a body of work I’ve created here over the last
thirty years. My visual work, be it camera obscura or painting or lithography, has centered
on my fascination with time. It is the same
with Provincetown: a continuous fascination
with the feelings of village, community, and
incredible beauty. Even though the town has
changed much in the 34 years since I came
here, its landscape and seascape and art
seem to embody and hold the past. The present and the past are woven into the fabric of
life here. Looking at my own work, I can see
Town #10, monoprint, mixed-media on paper, by M. Roth
both a feeling of joy and a sense of quiet melancholy or yearning. Like Chagall (an inspiration for some of the work in this exhibit), I find the joy of
life, and the mysteries of time in the spirit of my village.”
Marian Roth, well known for her camera obscura imagery, is also a painter
and printmaker. She received a Pollock
Krasner grant this year and a Guggenheim in 2000. She has been awarded
grants by the Mass Cultural Council
and C-Scape. This past spring Marian
received a medal for lifetime achievement in the arts from the Provincetown
Art Association and Museum. Her work
has appeared in Eric Renner’s classic “Pinhole Photography”, in various
magazines and journals, and a folio of
her work was highlighted in “Adventures
with Pinhole and Home-Made Cameras” by John Evans. Marian has exhibited
Time Travelers, monoprint, mixed-media on paper, by M. Roth
internationally and taught widely.
JICKY SCHNEE | V.I.T.R.I.O.L.
“I have long been fascinated by fairy-tales,
and this winter read a book that analyzed
the initiatory paths covered in them. In
reading an old Russian fairy tale titled
Vasalisa, the subject moves from novice to
crone through a long series of tasks and
hardships, some external, some self-imposed, but all requiring the use of intuition
for progress. Vasalisa’s challenges include
navigating the dark, facing the wild hag,
allowing the too-good mother to die, and
recasting the shadow of death. Having just
recently had two daughters, this series is
a reflection of my own initiation into and
path through womanhood using intuition
as my guide. This reminded me of the
old Freemasons motto, V.I.T.R.I.O.L, visita
Untitled, mixed, by J. Schnee
interiora terrae, rectificandoque, invenies
occultum lapidem, “visit the interior of the earth, and purifying it, you will find the hidden stone”;
look within yourself for the truth which is
already present through intuition. The definition of vitriol is a harsh or nasty criticism.
I often find the cruelest I can be is to myself
in response to my own (lack of) progress,
which would be made far more quickly if, like
Vasalisa, I used intuition.”
Jicky Schnee is an artist, actor and writer
who lives between NYC and Woodstock, NY.
She received her BA in Art and Art History
from Rice University and completed her
first solo show at the McDaris Gallery in
Hudson, NY last summer. She has most recently appeared in the film The Immigrant
alongside Joaquin Phoenix and Marion
Cotillard. This is Schnee’s fourth year
Untitled, mixed, by J. Schnee
showing at AMP Gallery.
BEBE BEARD | For Old Times Sake — Love You ‘Til The End Of Time
“I became fascinated with packing Styrofoam when
I saw first-hand how it deteriorates into ever smaller
particles around the edges of a fishing village in Maine.
Our desire for the pastoral is so at odds with our actual built environment. For Old Times Sake hopes to
frame the truth … for the moment.”
Bebe Beard earned her BFA in 1976, her MFA from
Mass College of Art’s Studio for Interrelated Media in
1996. She has just received a significant New England
Artists’ Trust grant as overseen by the Berkshire Taconic
Foundation. Past grants include the Massachusetts Cultural Council, St Botolph’s Club Art Foundation and the
Gottlieb Foundation Emergency Assistance. Beard has
held residencies at Djerassi Resident Artists Program,
MacDowell Colony and the Experimental Television
For Old Times Sake — Love You ‘Til The End Of Time,
Center in Owego, NY. She has exhibited in a wide variety
video, mixed-media, by B. Beard
of venues – alternative spaces, galleries, and theaters
throughout New England and New York. Her most recent group exhibition was at Site: Brooklyn between Red
Hook and Park Slope. Beard’s next upcoming solo show will be at Hallspace, Dorchester in Spring 2017.
MARY DEANGELIS | Our Town
Our Town, series, mixed on paper, by M. Deangelis
“I am a walker. In the winter the streets are quiet and sometimes it feels as if it is just me and the empty houses. This
past winter I decided to draw one and then another and then I
thought, “I’ll just do the 600 block”. Eventually I just kept heading west. I think of my drawings as portraits, and sometimes
erase the plants or trees. I like to imagine what it looked like
when the house was built, or floated and plopped down along
the “front street”.”
Mary Deangelis’ paintings and drawings are delicate and
intuitive, and have their own primitive organic language. Her
focus on the small things, that may perhaps go unnoticed, is
somehow always just enough. A drawing of a skirt on a hanger, or the portrait of a chair signals the possibility and breadth
of a single life. In that vein, a rendering of one house seems to
convey the life of an entire community.
ZEHRA KHAN | Charm
“I create sculpture and installations out
of paper and cardboard, favoring low-tech
materials and practices. With simple paper
constructions, I look to transmute the personal to the universal.
My great-great-grandmother was a prolific quilter in pioneer Idaho. Charm quilts
are made up of repetitive shapes where
every piece of patchwork comes from a different fabric. I loved how quilters use recycled materials from worn out clothing and
fabric and may include trades from friends
and family. I translated this quilting process
into making paper quilts out of my old paintings, doodles, elementary school homework,
photographs, and exhibition postcards.”
Zehra Khan is a multi-disciplinary artist.
When she’s not drawing, she may be making
sculptures, costumes, masks, installations,
Charm Quilt, mixed, paper, by Z. Khan
performances or films.
Process is key. With simple paper constructions and ritualized body painting, she transmutes the
human to the animal. In films, collage, and prints, the transformed protagonists cavort and play with
cathartic freedom.
A Pakistani-American born in Indonesia, Zehra lived in France and Switzerland before moving to the
United States for high school. She attended Skidmore College and received a Master of Fine Arts from the
Massachusetts College of Art & Design program at the Fine Arts Work
Center in Provincetown.
Zehra is current participant in the NYC Drawing Center Viewing
Program and the deCordova Museum’s Corporate Lending Program.
She has attended art residencies at Yaddo, the Contemporary Artists Center, the Vermont Studio Center, and ArtLab at the Mountain
Lake Biological Station through the University of Virginia. In 2012 she
was artist-in-residence for the Cape Cod National Seashore C-Scape
Dune Shack and was awarded a Massachusetts Cultural Council Fellowship in Drawing. She co-authored a children’s book “A Sunny Day
for Flowers”, published by Soberscove Press in 2013.
Charm Quilt, mixed, paper, by Z. Khan
August 12 – August 25
Opening Reception — Fri, August 12, 6-9 pm
KATRINA DEL MAR | Hell No / Poster Child
Katrina del Mar is a New York-based photographer, video
artist, writer, and award-winning film director. Her work has
been described as “beautiful”, exuding an “intimate chemistry” and also as “filth of the highest quality.” Katrina herself
has been described as a “major league cutie,” “a wild woman,” “the Lesbian Russ Meyer,” and “apparently, the lesbian
stepchild of Kenneth Anger.”
Her solo exhibition GIRLS GIRLS GIRLS, first presented at
Participant Inc. in New York City, was shown at AMP Gallery in
2013. Likewise, her solo exhibition Summer Sang in Me, first
presented at Strange Loop Gallery in New York City was exhibited at AMP Gallery in 2014. In 2012, Katrina presented a
series of films and photographs from the Golden Age of Performance Art (1988-2000) On the Edge of Society: Moments
in Live Art, at Warehouse 9, Copenhagen, Denmark. Her solo
exhibition, Gangs of New York, was presented in 2010 at
Wrong Weather Gallery in Porto, Portugal. Invited to teach at
the University of the Arts in Bremen, Germany, she conducted the first ever Queer Trash Feminist Film Workshop, also in
2010. Katrina has shown her critically acclaimed Girl Gang
Trilogy of films internationally, including venues such as the Kembra with Skeleton, photograph, by K. del Mar
Museum for Contemporary Art (CAPC), Bordeaux, France,
the Fringe Film Festival, London, UK, 2012; Nightingale Cinema, co-presented by Chicago Underground
Film Festival, the MoMA Dome 2 in Rockaway Beach, and Bio Paradis, Reykjavik, Iceland.
Katrina’s work has garnered numerous awards including a fellowship in video from the New York
Foundation for the Arts, “Best Experimental Film” from the Planet Out Short Movie Awards announced
at the Sundance Film Festival, the 2010 Accolade Award of Merit, and Winner of Juried Competition,
Schoolhouse Gallery, 2012.
Katrina is currently producing a “non-linear, semi surreal” documentary-style web series called
DelMarvelous: A Day in the Life, Katrina del Mar, which she screened at AMP during last year’s Provincetown International Film Festival.
“Katrina del Mar is perhaps best known for her decades-long work in video and photography, chronicling the reality and illusion of her Lower East Side friends and lovers as punk heroines; or within her girl
gang movie world of strictly female population. Creating a family tree indebted equally to B-movies and
diaristic photography, del Mar’s defiantly queer photographs and videos are iconic alternatives to the
cultural status quo, offering an exuberant, hyper-stylized sexuality, an unapologetic feminist voice, and
often guerilla-style production tactics. “ —Participant Inc
BOBBY MILLER | Downtown State of Mind: NYC 1973–1983
“These photographs represent a time period in New York City that
changed the way I thought. The people in these photographs set
standards for many social changes that were to come; changing
styles in fashion, art and music, and setting a pattern for a future
that no one saw coming. Many of these people went on to have great
careers and success. Many others disappeared into the abyss. I
want to thank them all for their commitment to the time, and for the
daring and bold expressions that they became known for. Without
many of these people there would have been no alternative scene,
and I for one would have died of boredom.”
Bobby Miller is a performance poet, writer, actor and photographer. He is the author of four books of poetry; “Benestrific Blonde”,
“Mouth of Jane”, “Troubleblonde” and “Rigamarole”. He has been
published in many magazines and periodicals including Verbal
Abuse, Vice Magazine, UHF
Magazine and the Village
Voice. He is included in The
1995 American Book Award
winning “Aloud: Voices
From The Nuyorican Poets
Cafe”, “Verses That Hurt;
Pleasure And Pain From The
Poemfone Poets” and “The
Christopher Makos, photograph, by B. Miller
Outlaw Bible Of American
Poetry”, which was listed on the top ten Poetry National Bestseller
List. Mr. Miller’s book, “Fabulous! A Photographic Diary Of Studio
54”, 144 black and white photographs with text, was published by St.
Martin’s Press in September 1998, He is also the author “A Downtown State of Mind: NYC 1973 – 1983”, “Wigstock in Black & White:
1985 – 2005”, “Jackie 60 Nights”, “Amina”, “Queer Nation”, “PORTRAITS: Volumes 1 – 3”, ”Ptown Peeps” Volumes 1 , 2 and 3, “Forget
Them Not”, ”Fetish and Fairytale Folk”, “Diva’s, Dudes & Dandies”,
and “Fabulous! A Photographic Diary of Studio 54: REDUX”.
Miller’s work has been exhibited in NYC, Palm Springs and
Provincetown at AMP Gallery, Patty DeLuca Gallery and Woodman
Shimko Gallery. Bobby has been taking photographs since 1974.
He studied photography with Lisette Model in 1976 in NYC at The
Marcia Resnick, photograph, by B. Miller
New School during the last year of her life.
EILEEN MYLES | Notes & Regrets
“I write poems but these are writing too. These are addresses
and measure things and remind me to do things that I do sometimes, and other times the note sticks around so long it’s embarrassing. They are sort of a family of messages on post-its,
index cards, torn corners of legal paper (yellow) and envelopes
too. It’s a thing. I’m volunteering to bring my materials to the
gallery for short periods of time during the run of the show to
write a note for you, or record a regret.”
Eileen Myles is the author of nineteen books including I Must
Be Living Twice: New & Selected Poems, and a 2015 reissue of
Chelsea Girls. In 2017 Grove Press will publish Afterglow (a memoir) about Myles’s late pitbull, Rosie, a one time Provincetown resident. Eileen is the recipient of a Guggenheim Fellowship, a Warhol/
Creative Capital Arts Writers grant, four Lambda Book Awards,
and a grant from the Foundation for Contemporary Art. In 2016
they received a Creative Capital grant and the Clark Prize for excellence in art writing. They’ve had work included in the past in shows
at Southern Exposure (SF) David Zwirner, and most recently The
Artist’s Institute (NYC) exhibited Myles’s 1992 campaign materials. Myles has showed their work several times in Provincetown at
Notes & Regrets, excerpts, by E. Myles
AMP and Schoolhouse Gallery where they will be exhibiting work in
August. Myles teaches at NYU and Naropa University and lives in Marfa, TX and New York.
CHRISTOPHER TANNER | A Flower is a Lovesome Thing
“I get my inspiration from many places — light and sparkle,
longing, The Golden Age of Hollywood, films, glamour, gay history, burlesque history, war, and seduction are all very close to
me. I love to find the beauty in the grotesque, the light in the
dark, order in chaos, and to share that experience with my audience. I enjoy having a constant dialog with my art, both physically and mentally. When passing in front of one of my glitter
pieces, the light continues to move and change bringing new
vitality to the work while also keeping my environment alive.
Collecting materials that are precious and have a sense
of historical context is very exciting for me. I encourage my
audience, and myself to make a journey of discovery with the
work I create. I am always looking to uncover secrets from
the past, present and future. I find I am most successful
when I am truly relaxed, working with no agenda, and in the
zone. It’s then that the magic comes.”
Christopher Tanner attended the San Francisco Academy of Art, and graduated from the California Institute
of the Arts in 1978. In 2008 he was Artist in Residence
at Yaddo in Saratoga Springs, NY. Over the years he has
had numerous solo national exhibitions, recently including: 2015, “Eye of the Heart”, La MaMa Galleria, NYC; 2013,
“Treasure”, Smart Clothes Gallery, NYC; 2010, “The Queen
of Hell & the Horn of Plenty”, Pavel Zoubok Gallery, NYC;
2008, “Give Me the Cobra Jewel”, Atrium Gallery, St. Louis,
MO; “Off the Yellow Brick Cliff: Paintings, Drawings & Collages”, Carl Solway Gallery, Cincinnati, OH; 2007, “How
High the Moon”, Pavel Zoubok Gallery, NYC; 2005, “Ravaged by Romance”, Pavel Zoubok Gallery, NYC; 2004,
“Christopher Tanner”, Boulder Museum of Contemporary
Art, CO. He has also participated in many group shows
both nationally and internationally.
As a performance artist Tanner has worked with Cyndi
Lauper, Penny Arcade, Everett Quinton, Bloolips, Mabou
Mines, The Wooster Group, David Lynch, Karen Finley, and
The New Stage Theatre Company.
Untitled, mixed, multi-colored sterling
silver leaf on handmade paper by C. Tanner
Untitled, mixed, multi-colored sterling
silver leaf on handmade paper by C. Tanner
JAY CRITCHLEY | Sand Drawings
“Sand is basic to Uncle Jay. It is the non-bedrock of the Cape tip. It molds
to the contours of our feet and creates a crunching sound when we walk
in it that stimulates the frontal lobe of our brains that triggers endorphins
and permeates vitality throughout the body. Crrrrruuuuunnnnnccccchhhhh. This holistic experience also stimulates our desire for crunchy foods,
not just granola but carrots, beets, apples, rhubarb and the raw onion family — an acquired taste like beer, but guaranteed to sensitize and enhance
the symbiotic connection between our olfactory and salivary glands.
This spiral spit of sand is a disorienting place. Our internal compass
goes haywire here as we attempt to find our bearings on the constantly
shape shifting sands of the dunes upon which we dwell. North becomes
south, east becomes west. Do most westerners even think about their
bearings in relation to the ground, untouched, insulated by concrete
and asphalt? How hard is that? Our bowed heads follow our GPS dutifully, but do we look at the ground? There’s no give to your body, to
your bones. After a while they start to creek and rub and grate against
each other, sending signals to the brain that life is hard, your body is inadequate, you need a tonic, a bracer, a crutch to cope with it all. A hip
replacement.” — Excerpt from “Uncle Jay”, a fictional memoir
Sand Drawing,mixed, by J. Critchley
Jay Critchley is a conceptual and multi-media artist and activist
whose work has traversed the globe, showing across the US and in Argentina, Japan, England, Spain,
France, Holland, Germany and Columbia. He founded the controversial patriotic Old Glory Condom Corporation and was recently featured in Sculpture magazine. His 2011 show in Chelsea, NYC received key
reviews in the New York Times, The New Yorker and the Village Voice. He created the inspired “Ten Days
That Shook the World” in 2012 before the demolition of the 1953 Herring Cove Beach Bathhouse.
Jay’s movie, “Toilet Treatments”, won an HBO Award at Provincetown Film Festival in 2002, where he was
featured last year in conjunction with his survey show at the Provincetown Art Association & Museum, “Jay
Critchley, Incorporated”. The show recently traveled to Florida Atlantic University, Boca Raton, FL.
He has taught at the Museum School of Fine Arts, Boston, and has had artist residencies at: Harvard University; AS220, Rhode Island; Harvestworks, NYC; Williams College, MA; Real Art Ways, Hartford; Milepost 5,
Portland, OR; Fundacion Valparaiso, Mojacar, Andalucia, Spain; and CAMAC, Marnay-sur-Seine, France.
Jay was honored in 2012 by the Massachusetts State Legislature as an artist and director of the
Provincetown Community Compact, producer of the Swim for Life & Paddler Flotilla, raising $4M for
AIDS and women’s health. His one act experimental musical, “Planet Snowvio”, about the meeting of
Free Speech Movement leader Mario Savio and NSA whistleblower Edward Snowden was recently
read at UC Berkeley Art Museum and Pacific Film Archive.
SHANIA LECLAIRE RIVIERE | Beauty of Being Broken
“In the spring of 2014, space was limited with little room to make
art in conventional ways. I didn’t have the funds to rent a studio, so I
decided the next logical thing would be to dive into the cyber world
and see what I could create. During the winter months of 2015, a
blizzard a week often left us housebound. At this point I was getting
a bit discouraged by my life – feeling a bit broken, not to mention a
bit “broke”. Thus the “Beauty of Being Broken” was born.
This series is the result of using what resources were available
to me, when I had little else but the desire to create. These new
works are abstract recreations of photographs of “Shania” during
the 2014 season in Provincetown.”
Shania LeClaire Riviere was born and raised in the South. He
left home in his twenties to travel the world and work on a cruise
ship. Ultimately, he landed in New York City where he settled for
ten years and began exploring his creative process by donning
drag. He was inspired by such creative forces as The Cockettes
and performance artist Leigh Bowery. From New York City he migrated to Provincetown, and it was here that he made a commitment to bring his unique style of drag into the Fine Art world.
Tuesday Love, archival print, by Shania
His first exhibit of paintings in 2009, entitled “There is no Shane,
Only Shania”, represented a year’s worth of self-portraits in drag that he recreated as abstract paintings.
In 2010 he shot “18 Ghosts”, a short black-and-white silent film as Shania. In 2011 one of his paintings,
“Gender Bent” was featured in Australian Vogue Living and was selected for an exhibit and show presented by “Tree” at the Charles Lahti Studio in Brooklyn. In 2012, Shania was featured in the film trailer
for the Independent film, “Spiral” and made the move to Los Angeles where he launched his creative
brand, “Maid by Shania” and finished his first photography/video project entitled, “Bus Talk”.
In 2013 he returned to his creative center, Provincetown, and completed his second photography
project, “Out the Window”, which was published as a coffee table book by the same name. In 2015 AMP
Gallery celebrated this body of work in a group show. Last year saw the launch of #ARTONSHANIA, a
drag fusion walking art installation presented during the Provincetown Friday Gallery strolls. This work
garnered a great deal of praise and Shania was featured in a variety of magazines, including two cover
stories in Provincetown Magazine and Et Alors?, an international magazine focused on documenting
contemporary queer and LGBT art. Most recently, Shania has created a series of digital drawings from
his photography series, “Strangers” entitled “My Weekend in Provincetown” and “Beauty of Being Broken”, a series of abstracts inspired by photographs of Shania. He has shown and sold a variety of work
at PAAM, Fine Arts Work Center, Patty DeLuca Gallery, Charles Lahti Studio, and AMP Gallery.
August 26 – September 15
Opening Reception — Fri, August 26, 6-9 pm
BARBARA COHEN | Displacement/Refuge
“Barbara is currently devoted to capturing
personal and universal experiences caused by
loss and daily survival. Repeated shapes of the
square and circle hold fast in Barbara’s work:
the form of a haven, a homeland, a structure, a
container for displacement...camps destroyed
by war or natural catastrophe. Rimless tires,
random as weights above tin, pleated rooftops
suggest protection.
Lives change in an instant, cloud-like containers holding the raining skies. These paintings as
fleeting moments: strips of land fall, dust and
devastation permeates as war blows, destroys
and sweeps. The artist standing alone: seeking
refuge, sorting, waiting, swimming, floating, and
finally buoyant. Observing this new meadow,
these new structures, its hazy frame a ceaseless
cycle, destroyed down to the bone, hoisted and
carried on her back.” – Susan Rand Brown
Displacement, series, gouache on paper, by B. Cohen
Displacement, series, gouache on paper, by B. Cohen
Barbara Cohen received a B.F.A. from Tufts
University and the School of Museum of Fine
Arts in Boston with earlier studies in art history at Oxford University. Awarded grants
include: The Pollock-Krasner Foundation, Artists Foundation Mass Fellowship Program,
Polaroid Artist Support Program, and Blanche
E. Colman Award, as well as artist residencies
from The Emily Harvey Foundation in Venice,
Italy and the Virginia Center for the Creative
Arts. Barbara has exhibited her paintings
and sculpture in numerous galleries and
museums across the country. She is the author of eight published books including, Venezia: Essenze, New York Love Affair, Dog in the
Dunes, and Provincetown ‘East West’. She lives
and works in New York and Provincetown.
M P LANDIS | Solo Piano
“In varied ways, my artwork deals with the functionality of process and the materials at hand.”
M P Landis was born 1965 in Lancaster, PA. As a child he traveled throughout the world with
his Mennonite missionary parents. After studying political science, philosophy and literature for
a few years, he dropped out of Millersville University of Pennsylvania to help open a bookstore in
downtown Lancaster.
In 1989 he moved to Provincetown to concentrate on making visual art, which had been his intention since early childhood. He quickly began exhibiting there and was awarded a solo exhibition at
the Provincetown Art Association and Museum (PAAM) in 1995. In 1996 he moved to Brooklyn, NY,
where he lived and worked until the spring of 2015 when he and his family moved to Portland, Maine.
Since 1990 Landis has participated in over 30 solo exhibitions, and numerous group and twoperson exhibits. His work is included in many public and private collections.
M P currently lives and works in Portland, ME.
wd6535, mixed on paper, by M P Landis
wd6509, mixed on paper, by M P Landis
MIDGE BATTELLE | Pro-Chroma
“My foundation training in the fine and graphic arts included an intensive drawing practice, the extensive investigation of color theory
coupled with the elements of design. After many years of working in
photography, printmaking and mixed media, I arrived at the intent to
devote most of my studio practice entirely to painting. Engaging with
the geometric/linear abstract, the work moved towards minimalist
grids and stripe configurations. The emerging images took on a feel
of the iconic through the felt plasticity of simple linear and grid forms.
The drawing within each painting is rendered with graphite, which is
then toned down with a gesso wash, softening the lines.
Heightened response to inner feelings as well as outer stimuli, is
what activates the start of a new painting. Intuition, as well as color
making skill creates and harmonizes the palette as the piece develops.
The emerging colors are quickly and deftly mixed and methodically
Distance of a Single Night,
applied. It is this spontaneous yet focused energy that moves the suboil on birch panel, 8x8” by M. Battelle
tlety of color work, shifting and engaging the eye to slowly move around
the picture plane. This method of color-making and application is compatible with the freedom offered by
the stabilized grid form. My current palette often leans to the use of mostly high key chroma. Recently, I have
begun to explore bonding panels into extended shapes and the combinations of more deeply saturated hues.
My paintings express various shifts in chromatic mood, as well as an expanding vocabulary of grid
and line compositions. Using a palette knife almost exclusively, oil paint is applied to birch panels, canvas, and occasionally heavy paper. By intention, the applied paint has no truly hard edges, conveying a
looser yet integrated aesthetic.”
Midge Battelle was born in 1945 in Worcester, MA. In 1967, she visited
Provincetown and remained as a year round resident for the better part of the
next fifty years. Currently, Battelle is residing in Gulfport, FL, returning often to
Provincetown, where she remains an active participant in the arts community.
In 1986 Battelle graduated from Greenfield Community College with an Associates Degree in Art and Design, and in 1989 graduated with a BFA from the
Massachusetts College of Art and Design in Boston, MA, pursuing a concentration in photography, graphic arts, and critical studies in art history. Over the
years Battelle has been involved in the arts as a teacher, gallerist, independent
curator, and studio practitioner. Currently Midge is committed to working in
the oil painting, drawing, and collage mediums.
Midge Battelle has exhibited widely, with her work is in both private and
1953 At Great Brook Valley,
mixed, 22x18”, by M. Battelle museum collections.
BEBE BEARD | Small Invader I & II — Love You ‘til The End of Time
“For several years now I have been combining found Styrofoam
pieces with organic forms made from paper-mache. Even though
EPS foam can be recycled, it rarely is. Paper-mache on the other
hand is a king among recycled materials because it can be made
from most any kind of paper or plant material.
In my generation we grew up thinking the ocean was the source of
all life, paramount in its ability to absorb, and infinite in its ability to support. How childish that seems now. “Invaders” are my imagining what
the ocean will grow instead of fish, mammals and plant-life if we do not
change. “Invaders” are my imagining the seas’ cries for help.”
Bebe Beard earned her
BFA in 1976, her MFA from
Mass College of Art’s Studio for Interrelated Media
Small Invader, mixed by B. Beard
in 1996. She has just received a significant New
England Artists’ Trust grant as overseen by the Berkshire
Taconic Foundation. Past grants include the Massachusetts
Cultural Council, St Botolph’s Club Art Foundation and the
Gottlieb Foundation Emergency Assistance. Beard has held
residencies at Djerassi Resident Artists Program, MacDowell Colony and the Experimental Television Center in Owego,
NY. She has exhibited in a wide variety of venues – alternative spaces, galleries, and theaters throughout New England and New York. Her most recent group exhibition was at
Site: Brooklyn between Red Hook and Park Slope. Beard’s
next upcoming solo show will be at Hallspace, Dorchester
Small Invader, mixed by B. Beard
in Spring 2017.
CINDY SHERMAN BISHOP | Haven
“Haven is an offering of empathy for those who have lost their homes whether through war, divorce, or financial strife. A narrated 3D illustration that renders in virtual reality, Haven premiered
at Tribeca Interactive this April. Here at AMP you can watch the short vignette about the Aldehneh
family who fled Syria in 2014. Illustrated using VRDoodler and narrated by Danny Aldehneh, the 10year old son.”
Cindy Sherman Bishop is
a visual artist, filmmaker, and
digital creative. She is currently at MIT with a fellowship
at the Open Doc Lab @MITOpenDocLab. At MIT, she has
prototyped a number of interesting projects, her primary
focus currently being VRDoodler, an online 3D drawing/
prototyping tool for artists and
storytellers that renders in VR
(http://www.vrdoodler.com).
Storybot, an audiovisual archive for family history, is also
patent-pending.
Haven, Syria, video still, online 3D drawing, by C. Bishop
ANNE CORRSIN | Dots and Dashes
Sensation of Corners, wood, acrylic paint,
2016, A. Corrsin
“In my latest sculptures I’m examining the play of angles as
they work with and against each other. I’m also investigating
perspectives of an object from different views.”
Anne Corrsin is a multi-media artist based in Somerville,
Ma. She received a BFA in Sculpture from the School of the
Museum of Fine Arts/Boston. The grants and fellowships
awarded to her include an Individual Artist Grant from the
Massachusetts Cultural Council (through Somerville Arts
Council), a Professional Development/Travel Grant (to study
Glassmaking and Design in Copenhagen and Ebeltoft, Denmark) from the Boston Athenaeum and an Artist Residency
Fellowship to the Vermont Studio Center.
Anne’s work is held in a number of private collections.
She has exhibited at galleries including Barbara Krakow Gallery (Boston, MA), Real Art Ways (Hartford, CT), Sacramento
Street Gallery (Cambridge, MA), Luhring/Augustine Gallery
(NYC), Sikkema Jenkins and Co. (NYC), and AMP Gallery
(Provincetown, MA).
ARLENE SHULMAN | Weeping at the Well
This multi-piece installation was
originally conceived to be part of
a large exhibit whose purpose was
to bring attention to the plight of
women around the world who are
being raped as tools of war, sold
into sexual slavery, punished by
acid and burning for tribal transgressions and enduring other
horrifying acts of abuse.
The proceeds from this exhibit
were to go to support organizations that help, support and bring
dignity to women who have been
Weeping at the Well, installation series, mixed, by A. Shulman
subjected to this kind of abuse
and humiliation. As such the artist will be donating all of her profits from this smaller installation to
the support these same causes.
Arlene Shulman is a photographer and sculptor living in New Jersey. Arlene’s main body of work
explores the connection between photography and found-objects and new ways of seeing. She has
had pieces in the Phillips Mill Photography Show, and in the Hunterdon Museum. She has also exhibited in Provincetown, MA. Four One-Woman shows in New Jersey provided her with the opportunity
to fill four rooms with works based on single themes.
The first, “Transparent Locations,” explored photographic portraiture within the context of threedimensional found-object constructions.
The second, “Hidden Exposures,” explored the forbidden aspects of the nude in public art forums by creating very personal and private viewing opportunities in found objects sculptures and
large installations.
Her third show of abstract photographs grew out of a response to an illness which temporarily
limited her physical abilities. These limitations which necessitated working in very small, closeup environments, actually opened a new world of possibilities where the artist began to use the
camera as a paint brush.
Her fourth show was a retrospective called “A Way of Seeing” which provided a way to explore
and contrast the wonderful dissonances and harmonies of her previous work.
Arlene is now focused on working with miniature sculptural figures which focus on the plight of
raped and abused women across the world. This work—and its materials and focus—is a return to
a format she used many years ago in a more whimsical fashion.
September 16 – October 11
Opening Reception — Fri, September 16, 6-9 pm
JOHN BRATTIN | Drawings for a Film
“All of my drawings are rooted in the idea of the storyboard, expanding this form so that individual works can
stand alone, but cumulatively serve to build narratives,
locations, and character studies. They are working drawings functioning as a script.
In my films, Victorian era gothic tales collide with
disconcerting horror genre masterpieces. Miniature
sculptures and tabletop models were utilized as imaginary settings in my previous work, whose stories were
told via voiceover. In 1998, “The Season of Sadness” deployed a 3/4 scale set façade constructed in my studio
on the Lower East side. More recent films have furthered
this controlled spatial trajectory. “The Triumph of Night”
Travel by Night, mixed, 7.75 x 11.5”, 2011, by J. Brattin
(2006), and “Eros is Sick” (2008) both utilized an exhibition space to create a series of fragmented theatrical sets as well my foray into synch sound, thus allowing me to progressively expand my interest in artifice through more elaborate theatrical settings.”
John Brattin is a New York-based visual artist and filmmaker whose work elaborates haunting
mental locations through a variety of mediums beginning primarily with drawings, which are then
utilized as a basis for experimental film works. These settings present a departure from the ordinary
world to a place existing mostly in darkness. Drawings are the basis of his uncanny dream worlds in
which artifice and the unconscious seem to merge. Often, idyllic childlike settings seamlessly curdle
into unsavory nightmares, evoking fear, disorientation, and ultimately loss. His current body of work,
over 200 drawings, forms the basis of “A Year Unimportant,” an imagined experimental film.
Exhibitions include, “Untitled” Art fair 2012, Miami with Participant Inc; “Nobody gets to see the Wizard not
nobody not no how”, 2010, Anna Kustera NY; “Technically Sweet”,
2008, Overgaden, Copenhagen, DK; “Half Forgotten”, 2007, Autoversion, NY; “The Triumph of Night”, 2006, Participant Inc., NY.
His work has been screened internationally, including “Melodrama”, Sara Meltzer NY; “Greatest Hits”, Wayward Canon, London,
2006; “Film Society”, Massachusetts College of Art, Boston, MA,
2006; “The Fruit Farm Film Festival”, McMinnville, OR, 2002; “Promises, Promises”, Gallery Union Screen and Art, Vienna, Austria, 2001;
“The American Century”, The Whitney Museum of American Art, NY,
2000; “Warhol’s Grave”, Mecano Amsterdam, 1999.
Brattin was the recipient of the Rema Hort Mann Artists Grant,
2006, and Harvestworks Artists in Residence, 2007 and the recipiThe Porch Murder, pencil, watercolor
on paper, 12 x 15”, 2011, by J. Brattin
ent of a film commission from The Danish Council of Arts, 2007.
LINDA LESLIE BROWN | More Holes
“My recent sculptural work engages the interdependent relationships between nature, objects and viewers’ creative perception.
These pieces are intimate in scale, no larger than the size of your
head, and they are emphatically hand made. My work is biased
toward process: growth, change, and falling apart. I am immersed
in the language of making, thoroughly engaged with tactile, phenomenological experience while creating work that merges the
somatic and mental imaginations. The quality of being always in
relationship to mind and culture, and in transition both physically
and metaphorically, is an important property of all my work.
These pieces explore a morphogenic vocabulary of layered
masses, planes and openings. The forms are packed together,
both additive and layered yet also porous and eroded. They are
multicolored and crenellated like a coral reef. Simultaneously
bold and vulnerable, these works are half created and half deBlack Pool, mixed, by L. Brown
stroyed. Holes penetrate the surfaces. Many pieces are bored
completely through, revealing a hollow center like a vessel.
Revealing geologic strata, and appearing to have been retrieved after a long immersion in the
earth or the ocean, my sculptures seem to be plastiglomerate relics of this damaged planets’ Anthropocene era. There is a concern for relationship: between these discarded materials and their
cultural or natural origins, between their literal and symbolic meanings, and in the way they stand
for human presence in the environment. “
Linda Leslie Brown’s work incorporates a variety of practices, including sculpture, installation,
painting and video/sound. Her work engages the interdependent relationships between nature, objects and human creative perception. Brown’s recent multi-media sculptural works are rife with allusions to the body. At the same time, they suggest the plastic, provisional, and uncertain world of a new
and transgenic nature, where corporeal and mechanical entities recombine.
Brown has exhibited her work nationally. Recent exhibitions include Popop Studios Gallery, Nassau
Bahamas, Danforth Museum of Art, Framingham MA, AMP Gallery, Provincetown MA, Bannister Gallery, Rhode Island College, Providence RI and Vessels Gallery, Boston MA. She is the recipient of grants
and fellowship residencies from The Artists’ Resource Trust of the Berkshire Taconic Foundation, the
School of the Museum of Fine Arts Travelling Fellowship, Suffolk University, St. Botolph Club Foundation, FPAC, Popop Studios International Artists’ Residency, Women’s Studio Center, Hambidge Center
for the Arts, and I-Park among others. She is represented by Kingston Gallery, Boston, MA.
Linda Leslie Brown is a Professor, and the Program Director of Foundation Studies at NESAD Suffolk
University in Boston MA.
JAMES MONTFORD | From the Planetarium of Black Indian Constellations
“I have developed a series of narrative text panels as part
of an ongoing discourse with audience, a discourse that
also utilizes painting, performance, video, installation and
sculptural, ephemeral and archival materials. Text panels,
which were printed in large scale and included in “James
Montford: Persuasions 1990-2015”, have been reconfigured
from earlier iterations commencing in the late 1990s, and
are now part of the larger discussion related to my installation-based work entitled “The Planetarium of Black Indian
Constellations”. In 2015, the narrative work was further animated by the use of an audio guide component.
This additional didactic imagery is intended to serve
as a catalyst, offering a script or passageway for contemplation. The development of a mythology of “constellation,” in its broadest expression, is the foundation for the
social narrative of my studio practice. The examination
of microaggressions and their relationship to holocaust
connects to Goya’s “Third of May”.
The work seeks at this juncture to continue its discourse of social engagement with aesthetic and formal Black Indians in space; Will it be hands up don’t shoot?,
MM collage on watercolor paper 8” x 10”, by J.Montford
juxtapositions in contrast to majority cultural models.
Diaspora representations become the pyridine for the discourse.”
James Montford is a multi-media artist, whose work ranges from photography and collage to performance art. He works between his studios in Providence, RI and Boston, MA. For over thirty years, his career has
allowed him to exhibit his work nationally, curate exhibitions and educate a variety of students crossing disciplines and media. Graduating with Honors in Fine Arts at Brandeis University, he was awarded the Rosland
W. Levine Award for outstanding Achievement in Fine Arts and served on the Advisory Committee to the Dean
of the College. He went on to receive his MA in Art and Education at Columbia University and MFA at the Hoffberger School of Painting, Maryland Institute College of Art in Baltimore. Montford’s numerous residencies
include several Yaddo Residency Fellowships in Saratoga Springs, NY, the Art Matters Inc. NYC Individual Artist
Fellowship and a VT Studio Residency Grant. He has pursued opportunities to study and work under great artists such as painter Robert Colescott, architect Paolo Soleri, painter Grace Hartigan and painter Joseph Stefanelli. Montford received funding from the National Endowment for the Arts Individual Artist Fellowship and
was twice awarded the Pollock Krasner Foundation Grant to Support Independent Work. In 2005, Montford
was appointed Director of the Edward M. Bannister Gallery at Rhode Island College, where he is a Professor in
the Art Department, and curates thought-provoking exhibitions by both regional and national artists.
DANA ELLYN | Some Animals are More Equal Than Others
Dana Ellyn is a full-time painter living and working in Washington DC. She
has been a vegetarian at heart since childhood, in practice since 2002 and
a vegan since 2013. This evolution has had a tremendous influence on the
paintings she creates. After a shy and quiet childhood and young adulthood, Ellyn has now found her voice and is making up for lost time. She creates hard-hitting paintings that have stories to tell and opinions to express.
Her animal-themed paintings strike a chord, creatively posing the question:
why do we love some animals and eat others?
Ellyn has exhibited extensively both in the US and internationally. In
2015-2016, she had solo exhibits in Washington DC, Provincetown MA,
Rehoboth DE, Gold Coast Australia, and Barcelona Spain. Her most recent exhibitions, entitled “Bycatch By Hand” at the P Street Gallerie in
Georgetown, DC and Moda 360 in Los Angeles, were collaborations with
fashion designer Tammam. The exhibitions focused on industry fusion
in a sustainable and cruelty-free context.
Eat, Wear, Love, oil on canvas,
20” x 16”by D. Ellyn
MATT SESOW | Wild Things
Dog Day Afternoon, oil, acrylic on
canvas, 22” x 15”, 2016, by M. Sesow
“I have always enjoyed painting a variety of creatures and the way
they interact with us humans. For my 2016 and fourth exhibit of
paintings at AMP, I will be focusing on imagery and iconography
as it relates to the theme of pets, imaginary creatures, and other
wild things.”
Matt Sesow is a Washington, DC-based artist who began
painting in 1994. Matt’s raw style of painting has gained a significant following. He currently has a solo exhibition of over 150 of
his paintings at the American Visionary Art Museum in Baltimore,
MD, which runs through June 2017.
In 2001, after establishing himself within the art community as a diverse and independent painter, Matt Sesow began pursuing his art fulltime. With the ability to focus entirely on his painting, Sesow exhibited
and traveled across the United States while also securing new collectors
internationally, including significant exhibitions in Barcelona Spain, several cities and towns in France, Australia, Slovenia, Bulgaria, and Bologna, Italy. In addition, Matt was honored by having one of his paintings
made into a United Nations stamp. It was released in September 2013.
October 12 – December 31
Opening Reception — Fri, October 14, 6-9 pm
SUSAN BERNSTEIN | The Red Thread
“This piece is an exploration of, musing about, surmising on the theme of attachment. I made two forms equal
in stature, standing on their own, a palpable red thread
enduring even with movement. We all have deep associations on the meaning of ‘attachment’. I wanted to make
a very distilled representation, paired down to essential
elements. This way the viewer can experience the piece
in the broadest possible way.
I am drawn to work that is spacious enough to make
room for questions and paradox. The extricable connection of all things and yet the human persistent experience
of separateness. The duality that makes attachment
both unbreakable and fragile.
In our culture, words usually dominate the areas of intellect, emotional fluency, even spiritual questing. In connecting our hands to clay, there is the opportunity to bypass the
mind and linear thinking. We can link to an ancient human
craft that transcends time and space. This is the landscape
The Red Thread, ceramic, mixed by S. Bernstein
I am most at home in, where touch is the primary language
and knowledge and memory resides in the fingertips.”
Susan Bernstein’s work is all hand built, using coils of clay
or slab to build up the piece. She is inspired by looking at books
and films of potters around the world from South Africa, Burkina Faso, Nigeria, Ghana, Mexico, India, Korea. Susan is a resident artist in Studio 13 at Mudflat Pottery in Somerville.
TERRY BOUTELLE | Groves
Winter Solitaire III, acrylic, 12” x 12”, 2016,
by T. Boutelle
“The Forest represents for me the interior life. My work explores
the contradictory feelings evoked by the image of the forest:
mystery, expectation, danger, protection, terror, peacefulness,
freedom, confinement. Color plays a part in creating the mood
of the forest image. To emphasize the spatial depth that can
draw one into such spaces, I work with layers of matte medium
and acrylic paint, creating a palpable sense of depth and distance. Within a dark forest, a light source can draw the viewer in
further, evoking a feeling of mystery and longing.”
Terry Boutelle is a Boston-based artist and teacher, recently
completing an MFA from the Massachusetts College of Art and
Design low residency program at the Fine Arts Work Center in
Provincetown. Exhibits include: “Counting Breaths” at the Koussevitzky Art Gallery at Berkshire Community College, “Remembrance” at Andover Newton Theological School, “A Forest in
Mind” at the Arnold Arboretum of Harvard University, and “Treescapes” at VCC Gallery at Bentley College.
A Light Beyond, acrylic, 36” x 48”,
2016, by T. Boutelle
KAREN CAPPOTTO | Grey Honey
Star Thistle, oil and graphite on paper mounted on canvas,
60” x48”, 2016, by K. Cappotto
Karen Cappotto studied at The School
of the Museum of Fine Arts in Boston, the
Fine Arts Work Center in Provincetown MA,
Boston College, and Manchester College
at Oxford University. Her work is in various
museums and collections, and she has received multiple awards for her mixed media
constructions. One of her collage pieces
was awarded joint first prize in the 2010
International Picture Works Competition,
the prize also including a national poster/
postcard blitz. She has also been included
in the “Land and Sea Contemporary Artists”,
by Deborah Forman published Spring 2013.
Cappotto exhibits regularly in Provincetown,
Palm Beach, and Charlotte, NC. In 2015,
she completed a six-week residency at the
Vermont Studio Center. Cappotto’s paintings particularly came on the radar after
winning the Lillian Orlowsky and William
Freed Grant for painting, and having two
successful Museum shows.
Karen currently resides in Provincetown.
MEGAN HINTON | Free Trap
“My paintings begin with observation--looking at the landscapes,
objects and figures I see on a daily basis in my North Atlantic
coastal surroundings. Nautical structure, geography, and wildlife serve as jumping points for exploring abstraction. Paintings
emerge as a midland between reality and imagination.
My process is intuitive and non-mechanical. I favor
spontaneous mark making without planned consequence.
For me the process of panting is as important as subject.
Consequently, process becomes subject. I investigate
harmonic color relationships-how colors interact on the
surface; I am less concerned with how colors appear in reality. My training, ongoing study, daily practice, and subconscious inform the alchemy that becomes my work.”
Megan Hinton has been exhibiting her work in New England and beyond for over fifteen years. Hinton holds degrees
from Ohio Wesleyan University, The School of the Museum of
Fine Arts Boston, and New York University. Hinton has been
awarded artist residencies from The Women’s Studio Work- Free Trap, oil on cavas, 36” x 36”, 2016 by M. Hinton
shop, The Vermont Studio Center, Nantucket Island School of Design, and Les Amis de la Grande Vigne in
Brittany, France. She has been the recipient of three local Massachusetts Cultural Council grants for recent
exhibitions in Wellfleet, Massachusetts at Preservation Hall and The Harbor Stage Company. Her paintings
are included in the permanent collections of The Cape Cod Museum of Art, The Provincetown Art Association
and Museum, and The Artists Association of Nantucket. Megan is a published art writer, art educator, and
avid traveler. She lives in Wellfleet, MA.
MARSHA LIEBERMAN | Sand Paintings
Sand Painting 10a, oil, mixed,
2016, by M. Lieberman
“I have spent the past two years studying, thinking about, and observing
sand. I cannot really remember what set me off on this path, but the works
are all based on some aspect of what I have learned or noticed: how as
a granular material sand can act variously as a fluid or a solid, and when
blowing, as a vapor; how the physical world affects sand—how wind and
water determine what happens to it; and equally how it affects the physical
world, scouring and abrading the surfaces it touches.
Sand grains have an extremely long life-cycle from rock or biogenic
materials, through stages as a granular material, and finally back to rock
again. In piles, it is able to maintain critical organization, and will reorganize
itself through avalanches when the tipping
point is reached. Some believe that this behavior is universal and can be seen all across
nature, including in our brains. This search
has made it possible for me to explore transient forms, a place of waiting, not knowing,
and unanticipated change.”
Marsha Lieberman studied both painting
and dance as a child, and returned to visual
media after a nearly three decade-long career as a dancer. That career left her with a Sand Paintings 11a & 11b, oil, mixed on canvas, 2016 by M. Lieberman
lasting interest in pattern and the structure
of space. Her work has been exhibited in regional and national galleries in Western New England, France,
and Turkey. She is currently represented by Gallery 37 in Milford, DE.
NANCY MARKS | Chalk Lines
“As a painter and mixed media artist with extensive background in printmaking, my current work explores two different narratives unified by my art-making techniques. “Urban
Abstraction” represents a body of work that explores the city,
steeped in its aesthetic and social paradoxes. I am drawn by
the complex contradictions of the urban environment. How
does constructed space separate or bring people together?
What makes community and what tears it apart? This interest
in the power of place can be traced back to my New York roots.
“Dialogue and Interpretation” grows out of my connections with nature and with my abstract emotional
world. This work uses similar art-making approaches as
my other work but is different in objective, process and
vision. It represents my enduring respect for the human
spirit, as it engages in the profound and complex process of healing.“
Flood Lights II, oil, mixed, 2016, by N. Marks
Nancy Marks has been a Boston-based printmaker and
painter for over 25 years. In addition to solo exhibitions at Tufts University and Fitchburg State University, her
work has been displayed in galleries, corporate settings and civic venues. She is currently on the Steering
Committee of the Jamaica Plain Artist Association, as well as teaching art to those engaged in creative aging.
Her other projects include: “The Intimacy of Memory Initiative: The Art of Loss, Love and Remembrance.
JEANNIE MOTHERWELL | Sanctioned Spaces
“In my work, I continue to be amazed with the
images and mysteries of creations — like the
oceans and skies in changing weather, Hubbletype images of the universe, and my own physicality during the painting process. It is the space
that I seek to capture and the three-dimensional
energy that defines it. This requires the eye moving off the edges of my canvas while bouncing
back through its surface. My pictures explore a
complex space which yields marvelous surprises
that carry me in directions I cannot anticipate. It
is like a dance with a creative partner gently leading me into moves I have not yet experienced.”
Jeannie Motherwell, born and raised in New
York City, inherited a love of painting from her faSpawn, acrylic, 48” x 67”, 2016 by J. Motherwell
ther, Robert Motherwell, and stepmother, Helen
Frankenthaler, two pillars of mid-century abstraction. She studied painting at Bard College and the Art
Students League in New York. Continuing with her art after college, she became active in arts education at
the Bruce Museum in Greenwich, CT, until relocating to Cambridge, MA, where she worked at Boston University for the graduate program in Arts Administration from 2002 to 2015. Her work has been featured in
such publications as Hamptons Cottages and Gardens, Avenue, Home & Design, Provincetown Arts Magazine, and Provincetown Magazine and is in public and private collections throughout the US and abroad.
Jeannie’s studio is in Somerville, MA. She is represented by Lynne Scalo in Greenwich, CT.
JUDITH MOTZKIN | Weight, Gather, Sort
Weight, ceramic, mixed,
2016 by J. Motzkin
“I repurpose, create, and combine in a search for affinities among objects that together come to speak of something more. I experiment with geologic processes to
tumble clay shards with sand and water. These small stone-like forms, inspired by
those the sea turns up, led me to contrasting big flat clay stones that, when strung
together, came to speak of weight. With found block and tackle we are able to experience that weight. Forms left from the production of one thing are gathered to
find form together or are sorted in invented taxonomy. The installations are responses to the physical nature of these parts--the weight of the clay, the natural
way a pile of arcs forms and falls, the way objects speak to each other.”
Judith Motzkin studied Asian Studies at Cornell University ’76, focused on Asian
Art, History, and Chinese. It was there that she began working with clay
while studying the history of ceramics in Asia. While at Clay Dragon Studios (1977-1985), she began to experiment with smoke and fire on polished
classical, sensual clay forms. She went on to establish her own studio in an
old stable next to her Cambridge home. Over time, her work has expanded
to include mixed media, assemblage, installations and photography.
Judy has had several solo shows and her work included in gallery and
museum exhibits nationally and internationally. She was founding director of the original Cambridge Artists Open Studios (CAOS), one of the
first neighborhood based open studios events, carrying on a tradition
of inviting people into the working studio begun at Clay Dragon. She cuSort, Taxonomic,
rated “Smooth and Smoky” (2009) an international exhibit of pit, smoke,
mixed, 2016 by J. Motzkin
and saggar fired ceramics at Vessels Gallery, Boston, and co-curated the
exhibit “Legacy of Fire: Clay Dragon Studios Revisited” (2015) at Fuller Craft Museum. Her saggar fired
work is in permanent collections including the Boston Museum of Fine Arts, Crocker Museum of Art, and
Jingdezhen Ceramics Museum in China. She has taught at MIT, Harvard, and Castle Hill Center for the Arts.
CHAMPA VAID | New York Series, Excerpts
“I started writing poetry at the age of 60, at a time when most people stop. I could tell you that I started writing late because an Indian
woman of my generation with kids raised them until they were done
with their studies, and had no time. That is a convenient explanation.
But the fact is that creativity has its own clock. It does not see age,
or being overworked, or not getting enough time to be with oneself.
When it comes, it comes. Thus I came to painting very late in life,
and though I had no formal training, I spent a lifetime seeing art and
artists. My husband, Krishna Baldev Vaid, is also a writer, and our
closest friends are poets, writers, artists, dancers and playwrights.”
New York Series #35, acrylic on paper,
Champa Vaid is an abstract painter and poet who lives and
2007 by C. Vaid
works in Texas. Born in 1930 in India, she started painting in 2006,
at the age of 76. Her bold and confident paintings are characterized by energetic strokes, experimental
style, and a unique blend of color, texture and emotion. Vaid’s paintings were featured in three group shows
held in New Delhi in 2007. She has had four solo exhibitions in India, two in Delhi at India International
Centre and Ekatra 2008; one at the Alliance Francais in Bhopal 2009, one at Indore sponsored by Sanskriti
Prashad, also in 2009. The AMP Gallery exhibition was her first solo show in the United States in July 2012.
Champa Vaid is the author of five books, including four collections of poetry in Hindi and one collection
in English titled, “The Music of Bones” (New Delhi: Vani Prakashan 2011).
Installation
RICHARD DORFF | The Other Side | Outdoor
Richard Dorff is a visual artist and set designer working in the realm of sculpture and
installation, and is currently the co-artistic director of Fort Point Theater Channel, and
founding member of Atlantic Works Gallery in East Boston. Recently, he designed the
sets for FPTC’s “Indiscreet Discretion”, “Hidden Faces of Courage”, and installation
pieces for a production of “Krapp’s Last Tape” and ”In the Summer House”. Rick exhibited his installation, “Rock Scissor Paper,” at the Atlantic Works Gallery.
In 2015, Rick curated and created kinetic sculptures in response to sound, dance,
and poetry performances for “inter-actions” at the Outside the Box Festival and the
Fort Point Channel Center garage. He designed and constructed the set for “Jeanne, The Other Side, concept
the Story of a Woman”, an opera by Mark Warhol and James Swindell, and exhibited drawing, 60” x 40” x 72”,
2016 by R. Dorff
an installation entitled “Teapot” at the Underwater Museum in East Boston.
HEATHER KAPPLOW | Potty Oracle | Loo
Potty Oracle, concept in process,
mixed, by H. Kapplow
For an undetermined portion of the 2016 season, Heather Kapplow’s
Potty Oracle will provide AMP’s bathroom users with new insight
around their biggest worries, strangest questions and most
mundane toileting habits.
Heather Kapplow is a self-trained conceptual artist based in the
US. She creates engagement experiences that elicit unexpected intimacies using objects, alternative interpretations of existing environments, installation, performance, writing, audio and video. Her work
has received government and private grants and has been included in
galleries, film and performance festivals in the US and internationally.
ELLEN ROUSSEAU | The Life of Objects | +20inches
“As an artist, scenic designer, and woodworker I am fascinated by the ways
in which spatial relationships inform context and story. What is the life of
objects? What is it we build? And what do our environments reveal? In the
+20inches Gallery I will explore these questions.”
Ellen Rousseau is an artist, scenic designer, and woodworker living
and working in Provincetown, MA. For years Rousseau has been making
things for herself and others. Her favorite toys as a child were building toys.
Blocks, Lincoln Logs, Erector Sets, Legos. Through art, theater, and design,
Rousseau sees and interprets the world around her. Inspiration can be the
spiral of a shell, an industrial landscape, a word, the people she meets or,
the curvature of the world.
The Life of Objects, in process,
mixed, by E. Rousseau
AMP Gallery | Mission Statement
AMP is a ‘live’ contemporary gallery space dedicated to the exhibition of multi-disciplined work by visual, conceptual and performance
artists, filmmakers and writers. Exhibitions & Happenings are primarily cutting-edge, and often process-based.
JP Art Market, AMP's independent sister gallery and namesake,
created by artist Patti Hudson has long been an integral contributor to the Boston arts community showing work by emerging and
established, local and international artists such as Kristen Dodge,
Leslie Hall, Lisa King, Roger Miller, and Patti Smith.
Debbie Nadolney, Gallery Director, Curator
[email protected]
www.artmarketprovincetown.com
432 Commercial Street, G1 | PO Box 807
Provincetown MA 02657
646.298.9258
Open April 15 – December, and by appointment all year long
AMP
a live gallery space
l i m i t e d e d i t i o n © 2016
Edited by Susan Goldberg