AMP Gallery 2015 Exhibitions Catalog

artmarketprovincetown.com
ART MARKET PROVINCETOWN
a live gallery space
WestEnd
148
2015 Season
AMP
AMP
148 Commercial Street • West End
[email protected]
www.artmarketprovincetown.com
508.413.9090 • 646.298.9258 cell
Debbie Nadolney, Gallery Director + Curator
ARTMARKET
PROVINCETOWN
a live gallery space
148
the
2015 Season
Opening Receptions | 6 to 9 PM, Fridays or Saturdays
Sat, May 23 Cindy Bishop, Jennie Livingston, David Macke, Tim McCarthy, and Jicky Schnee.
Film Festival
Screenings by Jennie Livingston, Katrina del Mar, and Ethan Shoshan.
Fri, June 26 Marian Roth, Ivan de Petrovsky, Amy Howell, Keith Krisa, Shania LeClaire Riviere,
Sarah Lyon, and Jerry Russo.
Fri, July 10 Matt Sesow, Dana Ellyn, Jennifer Camper, Juan Pablo Echeverri, and
TABBOO! Stephen Tashjian.
Fri, July 24 Steven Baines, Karen Cappotto, Michael Cunningham + Richard Dorff,
Mimi Gross, Heather Kapplow and Laura Wulf.
Fri, Aug 14 Bobby Miller, Michael Anthony Alago, Bobby Busnach, Katrina del Mar,
and Juan Pablo Echeverri.
Fri, Aug 28 Barbara Cohen and Bobby Miller.
Fri, Sept 4 Barbara Cohen, Anne Corrsin, and Barbara Hadden.
Fri, Sept 25 Susan Bernstein, Katharina Chichester, Paula Clendenin, Jay Hall, Susan Israel,
Shari Kadison, Judy Motzkin, and Luanne E Witkowski. Co-curated by Dorothy Palanza.
Fri, Oct 16 Judy Kermis Blotnick, Jeanne-Marie Crede, Mimi Gross, Susan Krause,
Jennifer Moller, and Amy Solomon.
+14inches
Weed Science Theater, an ongoing installation experiment by sam smiley.
Outdoor See How the Water Falls by Judith Motzkin | Folius Electronicus by sam smiley.
Happenings For details on live events, please visit: www.artmarketprovincetown.com/happenings
May 22 – June 21
Opening Reception — Sat, May 23, 6-9 pm
CINDY SHERMAN BISHOP | A Doll’s House V1.0
”Though much has progressed and changed
regarding gender awareness, I believe we
are still find ourselves stuck within polarizing viewpoints. There is still something very
unhealthy in our culture regarding women
and men. My intention for the Dollhouse
is to help shift the existing conversation
into one that is more enlightened – one
that addresses our deeply rooted notions of role play, and what drives our
dreams and expectations.
This first installation at AMP posits a
voyeuristic physical exploration of a 21st
century female psyche embedded within
a dollhouse. In this experience, the audience participation is limited to the outsider or voyeur, or what I would correlate
to “the male gaze.” My future goal is to
render the Dollhouse in virtual reality so
that the audience could choose to remain outside looking in, or experience
the dollhouse as the doll herself.”
Cindy Sherman Bishop is a visual artist, filmmaker, and digital creative. Originally a software developer and a painter,
her work ranges from creating new tools
for artistic expression to realizing immersive, interactive environments with
full-body interaction. She received her
MFA in Dynamic Media at Massachusetts
College of Art in 2013, and is continuing
to explore the intersection of art, video
and technology at MIT with a fellowship
at the Open Doc Lab @MITOpenDocLab,
cindyshermanbishop.com.
A Doll’s House V1.0, mock-ups by Cindy Sherman Bishop
JENNIE LIVINGSTON | Earth Camp One, Photographs + Drawings
Earth Camp One, Jennie Livingston’s work in progress, is a first-person memoir, a family saga, and a
broad essay about how American culture views loss
and impermanence. It’s about how the director lost
4 family members in 5 years, and it recalls a 1970s
hippie summer camp, the connection being that
when we’re young, we often want to break away from
our families, find different cultural markers. What
happens when they leave us? Earth Camp One uses
first-person storytelling, humor, archival footage, interviews, animation, drawings, and thousands of photographs to explore how it is to live in a world where
everything and everyone disappears.
There’s a paradox at the film’s center: we long for
Untitled, photograph by Jennie Livingston
what and whom we’ve lost, but at the same time, we
wish to forget, as rapidly as possible, what loss feels like.
In A Field Guide to Getting Lost, Rebecca Solnit wrote, “before the 1960s, light and air themselves seem
to have had an almost undersea depth and luminosity, in which skin glowed opalescently… most Americans
who didn’t live through it think the Depression took place in a world of rough-hewn but secretly seductive
black-and-white surfaces, as though texture itself could be a wealth to counter all that poverty.”
Images spark memories, some false, some accurate. Like
historians, filmmakers obsessively consider the relationships
between pictures and stories, conjuring strings of images to
illuminate the chaos of living. Telling and seeing stories, we’re
doing two things: unearthing emotional worlds, and looking for
resonant images to help us understand. Stories turn what’s unquestionably stressful in real (i.e. wondering what will happen
next) into pleasure and order.
In the show are a few of the thousands of pictures (drawings and
photographs) that will make up the stories of Earth Camp One.
Jennie Livingston is a filmmaker known for lively storytelling, nuanced character portraits, and thoughtful explorations
of identity, class, race, sex, gender and death. Livingston’s films
include Paris is Burning, Who’s the Top?, and Through the Ice.
Paris is Burning appeared on New York Magazine’s 40th anniversary approval matrix, their “deliberately oversimplified guide Beverly Hills, CA, photograph by Jennie Livingston
to 40 years in the cultural capital of the world” next to Annie Hall,
Pauline Kael, and Do the Right Thing. The LA Times called Who’s
the Top? “witty and accomplished.” Livingston is currently working on Earth Camp One, a memoir/essay feature film that’s been
supported by the Guggenheim Foundation, Netflix, Kickstarter
backers, and by donors and foundations. Jennie’s most exciting
work-for-hire was a video for Elton John’s ongoing stage show,
The Million Dollar Piano. Livingston majored in Studio Art at Yale,
where she won the Sudler Prize for drawings and photographs.
She grew up in Los Angeles and lives in Brooklyn, NY. For more info
Highway 80, photograph by Jennie Livingston please visit www.jennielivingston.com
DAVID MACKE | 13 Chewing Gum
”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 iconography of performing
manhood and the wild nature of boys becoming men. Some of our greatest cultural icons
transcend standard male gender ideals, despite
being outsiders with exaggerated expressions of
the masculine. Considering David Bowie, Kurt
Cobain, Mick Jagger, River Phoenix, Michael
13 Chewing Gum, video still by David Macke
Jackson and Marlon Brando, James Dean, Billy
Idol, John Wayne, who are glorified and have gained wide mass appeal. Such men steer society’s notions of
masculinity and sexuality by establishing mythic identities that transcend ideas of normative male posturing identity via performance art. As an artist I look for the creation of an American myth. Currently my focus is on
the performative alchemy that conveys the glorification of the male in wildness and wilderness.”
David Macke was born in 1971, and studied Spanish literature at the Universidad de Granada, Granada,
Spain. For the last two years he has been making photographic and video portraiture of performative masculinity. Riverzine LA is in the collection of Whitney Museum of American Art. His exhibitions include: 2011
Queer Portraits VIHdeos, Madrid, Spain; Queerocracy Symposium, Parsons; The New School for Design,
New York, NY; 2010 PhotoFeast, Milk Studios, New York, NY. Film credits include: “Big Al“ 2015 (director) and
“Jeremy” 2014 (co-director). David is also the founder, artistic director and executive producer of {Your Name
Here} A Queer Theater Company. {Your Name Here} is a non-profit theatre troupe and producing company.
For further information: yournameherequeer.org and Facebook: yournamehereNYC
TIM MCCARTHY | To Queer Youth in 100 Years
“Before I died of AIDS, as part of my search for the meaning of
being gay, I filmed life portraits with diverse LGBTI people to
understand how their interpretation of being gay guided their
lives. I always ended the portraits by asking, “What would you
like to say to Queer Youth 100 years from now?”
Technology has allowed us to reinterpret many things in
our world. This project is my reinterpretation of the painted
portrait. The result provides an emotionally moving, as well as
insightful look at our queer cultural evolution. While keeping
Clyde Hall, video still by Tim McCarthy
true to each person’s original voice, I have edited the portraits
down into mini documentaries that last several minutes. Some of the people documented here are:
Urvashi Vaid, one of the prominent leaders of our movement since the 1980’s; Clyde Hall, a leader in
the Native American tribal and legal communities all his life as an open gay man; and Marvin Liebman, a
closeted gay man who helped found the modern conservative movement with William F. Buckley.”
Tim McCarthy is a Gay Video Historian. He has traveled the world since 1990 with a video camera
documenting LGBTI life in 90 countries thus far and on all 7 continents. He is creating a visual record of
this ‘time of firsts’ for LGBTI people around the globe. It is both his medicine and his legacy. He was with
the first International Gay and Lesbian Delegation to the Soviet Union in 1991. He was ‘first report’ credentialed by the White House for Gay TV in 1993. His second film “Nocebo + Witchcraft” is about his trip
bringing his HIV back to its homeland Uganda in 1999. He was on the first Gay Expedition to Antarctica
in 2000. The film “How To Survive a Plague”, which uses some of his archival footage, was nominated
for an Academy Award in 2013. Currently, he is working in Uganda on Voices of Abasiyazzi.com.
Marvin Liebman, video still by Tim McCarthy
Urvashi Vaid, video still by Tim McCarthy
JICKY SCHNEE | Beyond This Line There Be Dragons
Beyond This Line There Be
Dragons began with a childhood fascination with old
maps in which the Earth was
still conceived of as flat. Here
a line was commonly drawn at
the point where exploration
had ended that said, ‘Beyond
This Place There Be Dragons’.
In those days it was commonly believed that if you crossed
this place, you might either fall
off the earth into an unknown
abyss or encounter some horrible unknown beast such as
the dragon. I have always been
intrigued by what lies over
that line, physical and metaphysical, personal and universal, as the unknown holds the
greatest possibilities. A quote
Beyond This Place There Be Dragons, detail, oil, mixed on canvas by Jicky Schnee
from Rossiter Raymond that
was sent to me many years ago has long endured in my mind, “Life is Eternal; And Love is Immortal;
and Death is only a Horizon; and a Horizon is nothing save the limit of our Sight”; this horizon can be
both a place we have not yet seen but also a place in which we refuse to look. The play written along
with these works, “The Four Sisters; The Eye, the Ear, the Brain, and the Mouth” is an exploration into
the themes of talent, beauty, nature, sustenance, distraction, futility, mortality, and hope. In it each
sister comes to realize that their greatest strength can also be their undoing. Yet they must face the
unknown and move forward against all odds to find their own truth and, ultimately, faith.
Jicky Schnee received her B.A. in Art and Art History from Rice University and studied drama at
BADA in Oxford, England. She works as both a painter and actress. Her most notable roles as an actor
have been a supporting role to Marion Cotillard in “The Immigrant” which premiered in NYC in April 2014,
the lead role in “The Afterlight” also starring Rip Torn, and the title role in “Arabian Nights” at The Classic
Stage Company in NY. She recently did a small part across from Peter Saarsgard in the yet to premiere
film, “Experimenter.” Jicky will have her first solo art show this summer at the McDaris Gallery in Hudson,
NY from June 27th to August 30th. Jicky lives and works between NYC and Woodstock, NY.
June 24 – July 8
Opening Reception — Fri, June 26, 6-9 pm
MARIAN ROTH | Where Time and Light Meet
I like to inhabit the cameras I create—whether they are rooms, or tents, or the back of a jeep. Inside the
darkened space, time and light penetrate the stillness through a tiny hole or a slit. The outside world is
projected upside down and backwards. I hold my breath and sigh at the beauty of this world as it comes
into my camera obscura like magic. I am a witness, and this is what I see.
Marian Roth was born in Coney island
in 1944. Although as a child she dreamed of
making art, she became obsessed with social
justice as a teenager in the 50’s and studied
political science, earning a PHD in 1968. Her
beautiful career as a professor ended in 1973,
when her feminist activity lead to her politically motivated and highly charged dismissal.
A self-taught photographer and painter, Marian
moved to Provincetown in 1982 to live among
artists, fulfill her lifelong yearnings, and open
her consciousness to the mysteries and joy
of living once again at the edge of the Atlantic. Marian has spent the last forty years attempting to express her innermost dreams
and feelings through her art. Her pinhole
photography — with imagery crafted from tin
Untitled, pin-hole photograph by Marian Roth
cans, huts, a travelling van and lately a geodesic dome — has brought her great acclaim. She received a Guggenheim Fellowship in 2001 and has
received various fellowships and grants from the Massachusetts Cultural Council over the last 20 years.
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 internationally and taught widely. She makes her home in Provincetown.
IVAN DE PETROVSKY | Solitude
“I have always been attracted to the wide open spaces of America — perhaps due to my coming from
Europe where almost every non-urban area has been tamed. The photographs and paintings of the European mountain ranges with their rivers, lakes and greenery have always, rightly or wrongly, imbued in
me a sense of ‘The Sound of Music’ sweetness. I far prefer the wild, less familiar places of the U.S.
Although one recognizes that large areas of the Southwest are desolate wildernesses and deserts,
areas of the Outer Cape during the off-season can mirror the barrenness and the sense of solitude one
experiences in the remoter areas of Arizona and New Mexico. I truly love these landscapes. For the longest of times I wished to capture their beauty on film. The difficulty for me is that although I can look at
a pure landscape and admire its beauty and marvel at the
skill of the photographer, I need more than that for myself to
satisfy my need for self-expression.
My series Solitude, from which these two images derive,
is an attempt to put a narrative into the landscapes that I love
so much. Here I have sought to use the expansive landscapes
and the naked human form to explore the ethereal. I have tried
to conjure up in the mind of the viewer the concept of Man, his
environment and his Creator. By placing a small, yet strikingly
posed, nude figure into these large and challenging landscapes,
I hope to initially seduce the viewer with the immediate beauty
and composition of the image. Once engaged, my hope is that
Untitled, photograph by Ivan de Petrovsky
the viewer will be prompted to larger questions in the mind. ...”
Ivan de Petrovsky, born in the U.K. and currently a resident of Provincetown MA, was initially selftaught in the art of photography. As he became increasingly interested in the craft itself, and not just in
the picture taking process, he decided to move to New York City and embark on a series of Black and
White Photography workshops at the International Center of Photography (ICP).
After completing his season at the ICP, Ivan left New York City for Rockport, ME, where he was enrolled in the residency program at the Maine Photographic Workshops. Here, under the expert guidance
and instruction of such luminaries as Brenton Hamilton and Jan Rosenbaum, he learned the techniques
and intricacies involved in toning and bleaching monochromatic negatives and prints. During his time in
Maine, Ivan furthered his craft by attending various workshops with numerous industry-recognized fineart and documentary photographers including the Magnum photographer, Constantine Manos, and ICP
veteran Amy Arbus.
From Maine, Ivan crossed the pond back to London and signed on at the London College of Printing
(LCP). There he learned many skills in the art of commercial photography — exploring, among others,
the fields of studio flash and large-format photography.
On completion of the LCP course Ivan moved to Sydney,
Australia where he was quickly taken on by the Look Photographers Agency. He shot international multi-media campaigns for Coca-Cola, Energy Australia, Nutrimetics and
Sunraysia UK, to name a few. Although initially trained in film
and darkroom craft, much of his commercial work was shot
digitally as the commercial clients increasingly desired to
embrace this rapidly emerging medium.
Although he still shoots commercially, Ivan has continued
to pursue his passion and love of fine art photography, particularly in the wilderness areas of the globe. His series Solitude
was shot on location in the U.S., and many of these prints are
Untitled, photograph by Ivan de Petrovsky
now held in private collections on several continents.
AMY HOWELL | Not In My Neighborhood
“These images were taken in a charming upper middle class residence in the northwestern suburbs of Chicago. You see manicured
lawns, luxury cars parked inside double spaced garages, sidewalks
with beautifully fenced-in yards. From the front of this particular
home it appears a regular family with their three kids reside, the dad
taking the train to the city for work, the Mom on the PTA, living within
their expected style of living. But we all have our oddities from our
childhood, and the ways our parents prepared us for the world often
can fall more towards the outer ends of the continuum chain for what
is considered the average normal.
The interiors immediately reveal a hurricane in motion, a slow movUntitled, photograph by Amy Howell
ing invisible lava-like force that is capturing everything is its path, forcing
shoes with books, and toys with clothes and the lost forgotten of the once treasured. It was disturbing for me
to shoot these photos as the home belongs to someone very dear to me and I see how this clutter storm has
impacted the sprouting minds and souls of the children that inhabitant it.
I graduated in Graphic Design before computers were solely the creative media in creating images.
I spent many late nights with my rapidograph and T-square making those perfect lines. But I was more
drawn to the magic of the dark room and began experimenting with imagery, mostly focusing on the absurd and/or the quirky. I worked for a couple of small newspapers before being sucked into the culinary
world where I learned the art of flavors and presentations. Living in Provincetown, the vortex of visual
creativity, I first picked up playing the flute and soon after picked up my camera with a renewed enthusiasm to start sharing my images. Recently, a photograph of mine was chosen for a juried show celebrating PAAM’s 150th year. I like to embrace the passing mood, an image of time that one experiences with
what is not defined to our minds and hearts, but in a place more eternal.”
KEITH KRISA | Living Room Series
Untitled, photograph by Keith Krisa
“I use a Diana (plastic camera) to create my images. Film is exposed in the
camera, the developed negatives are digitally scanned and then printed
with an inkjet printer using archival pigment inks.
On a technical level Diana cameras are cheap, all plastic, medium
format cameras. It was the discovery of these toy cameras about 30
years ago that opened up the world of creativity for me as a photographer.
Because of the lack of quality of the camera body and lens, the images are
often distorted and out of focus in some areas. Light leaks often occur, as
well as other unpredictable occurrences, and images look like they are
coming up from under water or out of a dream. It is this serendipity that
brings my images to life. I was able to free myself from the conventions
of a sharp and precise lens. This enabled me
to be more spontaneous in my shooting and
visceral with my content. The simplicity of
the camera allows me to be entirely in the
moment creatively.”
Keith Krisa’s photographs, mostly taken
with a Diana camera, are becoming widely
collected and embraced for their dreamlike quality. This new selection of images
are, in part, from his ongoing Living Room
Series, which was first exhibited here at
AMP Gallery in 2013. Keith lives and works
in Cambridge, MA.
Untitled, photographs by Keith Krisa
SHANIA LECLAIRE RIVIERE | Out the Window
After creating art for over thirty years, it all comes down to this: 1. “Art
enables us to find ourselves and lose ourselves at the same time.” –
Thomas Merton. 2. “Art doesn’t have to be pretty. It has to be meaningful.” – Duane Hanson. These photos represent 4 1/2 years of my
life. All photographs are taken from the same room and same window. There are 50 photographs in total.
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
those voyages landed him in New York City where he settled for ten years
Out the Window series, photgraph by
and began exploring his creative process by donning drag. He was inspired
Shania LeClaire Riviere
by such creative forces as The Cockettes and performance artist Leigh
Bowery. After ten years in New York City he migrated to Provincetown, MA and it was here that he made a commitment to bring his unique style of drag into the Fine Art world.
His first painting show in 2009 called 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, Et
Alors Magazine, the first glossy Gay, Drag & Gender Bending style magazine, did a feature story and interview highlighting Shania’s performance
art. Also in 2012, Shania was featured in the film trailer for the Independent film, Spiral. It was at this time that he moved to Los Angeles, Cali- Out the Window series, photograph by
fornia and launched his creative brand ‘Maid by Shania’ and where he
Shania LeClaire Riviere
finished his first photography/video project entitled Bus Talk.
In 2013, he packed up his belongs and his husband and returned to his creative center, Provincetown.
In the winter of 2013/2014 he completed his second photography project Out the Window. In the spring of
2014, he published his first coffee table book called “Out the Window”. He will also be featuring his largest
photo exhibition from Out the Window in 2015 at AMP Gallery. He is currently working on two graphic art
projects, “The Deconstruction of Strangers” and “The Beauty of Being Broken”. His work can be found on
his website www.shanialeclaireriviere.com.
SARAH LYON | Next Exit Series
“On highway 65 in Southern Indiana there is a set of 6 wooden billboards in various states of decay. Drawn
to the aesthetic of their faded colors and textures and the history of what was once hand painted on them,
I made several pilgrimages in efforts to document them. That winter a friend died, an artist named Stephen
Irwin, who had been an influence on my life and my art practice. In the snow I spent a final afternoon with the
billboards while mourning the loss of Stephen. The images that ensued are my homage to him, meditations
on change, loss, and architectural perspectives toward the sky.”
Sarah Lyon grew up in Louisville, Kentucky, and has lived in Italy, London, and Ohio. She spent several
years touring the United States alone on her motorcycle, living on the road while working on various photography projects. Her artwork has been featured in numerous solo and group exhibitions throughout the
Midwest, and in San Francisco, Philadelphia, and Austria. Sarah received her BFA from Miami University in
Oxford, Ohio. She has taught photography at Bellarmine University, worked as a carpenter, motorcycle mechanic, archivist, editorial and commercial photographer. Her self-published Female Mechanics Calendar, a
document of all varieties of women mechanics working in their shops, was distributed to audiences around
the world. Sarah has received grants from The Kentucky Arts Council, The Kentucky Foundation for Women,
and ArtPlace America. She lives in Louisville with her cat Roland.
Snow Billboard I, II, III, photographs by Sarah Lyon
JERRY RUSSO | Alone Together
“The great photographer, Walker Evans, shot photographs of people on
the New York City subway system between 1938 and 1941 using a camera
painted black and hidden in his coat. Thanks to the iPhone, I am attempting
to follow in Evans footsteps by photographing people on the Massachusetts
Bay Transportation Authority (MBTA) buses and subway trains since 2013.
Alone Together is an examination of people while confined to the crowded spaces of the T. I strive to capture people when their guard is down and
the mask is off showing a vulnerability in the faces of those weary from
work after longs days and tiresome commutes.
Like a good novelist I attempt to show that person and place are inextricably intertwined by including more than just the face of the commuter. The too-small personal space and the structure of the bus or
train all contribute to the commuter’s state of being and are a participant in the photograph. It is in the moment when space, expression,
and opportunity come together that I take my shot.”
Jerry Russo was born and raised in Brooklyn, NY, and lived in LA and Las
Vegas before arriving in Boston. His career spans three decades as a commercial and editorial photographer shooting everything from a Muhammad
Ali and George Foreman prize fight at Caesars Palace, to documenting the
Punk Rock music scene in LA. In 1996 he came to Boston where he received
a BFA from The School of the Museum of Fine Arts. While there, he received
the honor of a Traveling Scholarship. His work has been shown at the Museum of Fine Arts Boston, EADS Symposium in Munich, and the Thread
Waxing Space, NYC. His work is in the permanent collection of Polaroid and
Wellington Management, and other private collections.
Route 66 series, photographs by Jerry Russo
July 9 – July 22
Opening Reception — Fri, July 10, 6-9 pm
MATT SESOW | Trip to Here
Trip to Here brings a new group of paintings inspired by Sesow’s experiences in Provincetown over the years. This will be
his third exhibition at AMP Gallery.
Matt Sesow, without formal art education, discovered painting as a hobby while working at IBM. In the evenings and on
weekends he played with painting and began selling his work
to Self-Taught and Outsider art collectors in 1995. Throughout
the 1990’s he continued to paint and participate in art exhibitions while working full-time at a variety of computer firms
including AOL and Netscape. Returning from a stint with the
Peace Corps in 1999, Matt began to focus on his love of painting and developing a path to create art full-time.
In 2001, after establishing himself within the art community as
a powerfully diverse and independent painter, Matt Sesow retired
from his computer career to pursue his art full-time. 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 at the American
Visionary Museum in Baltimore, Barcelona, Spain, several cities
Large Fish with Baby Whale, by Matt Sesow
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.
Currently living and painting in Washington, DC, Matt celebrates his 21st year as an independent
artist. www.mattsesow.com
DANA ELLYN | Happiness Is ...
“As a vegan and animal lover, many of Dana
Ellyn’s paintings feature compelling, and often challenging narratives for/of creatures big
and small. For this show, she will additionally
draw keen inspiration from her past trips to
Provincetown, and her natural affinity to New
England where she was raised. This will be Ellyn’s third exhibition at AMP Gallery.”
Dana Ellyn is a full-time painter who lives
and paints in her studio in Washington, DC.
She committed herself fully to painting in
2002 when she decided to leave her corporate
Fish and Muriel, by Dana Ellyn
job and pursue her art. Ellyn’s style sits on the fence between social realism and expressionism. Having spent her childhood and college years honing her skills and striving to be technically correct, she
now constantly tasks herself with unlearning those restrictive habits. Dana Ellyn has recently had
solo exhibits in Barcelona, Spain, and Gold Coast Australia, an upcoming solo in Rehoboth, DE and
several two-person exhibits with her husband (Matt Sesow) in Washington, DC, Boston, MA, Spain and
France. www.danaellyn.com
JENNIFER CAMPER | Busts
Busts is a wallpaper design by Jennifer Camper
originally commissioned by the Katherine E. Nash
Gallery, Minneapolis, MN, where she had a show
earlier this year. AMP Gallery is thrilled to exhibit it
here in Provincetown.
Jennifer Camper’s comics explore gender, race
and class from an outsider’s (female, queer, and
mongrel) perspective. The work also celebrates sexy
women and ridicules stupidity. Camper became a
cartoonist because she likes making art with both
words and pictures. Also, all the tools of the trade
are small and easy to shoplift.
Her books include Rude Girls and Dangerous
Women, a collection of her cartoons, and subGURLZ,
a graphic novella about three twisted women living
in abandoned subway tunnels. Camper is also the
founding editor of two Juicy Mother comix anthologies. She edited the Queer Pin-Ups playing cards and
is the creator/coordinator of the Queers & Comics
Conference, CLAGS, CUNY Grad Center, NYC, 2015.
Her comics and illustrations have appeared in magazines, newspapers, and comic books, including The
Village Voice, Ms. Magazine, The Advocate, Out, Gay
Comix, Wimmin’s Comix, Young Lust, World War 3, and
Funny Times. Her work has been published in many comix anthologies and she is the cartoon editor for The
Busts, wallpaper design by Jennifer Camper
Women’s Review of Books. Her cartoons have been
translated into French, Arabic, Spanish and Korean.
Camper’s art has been exhibited internationally, including at The New Museum, (NYC), Festival
International de le Ban Desinee (Switzerland), The San Francisco Cartoon Art Museum, Kyoto Manga
Museum, LadyFest (UK) and Högkvarteret (Sweden).
JUAN PABLO ECHEVERRI | Homoticons
“HOMOTICONS is a series I did in 2013. Although it had been in my
head for many years, I had still not found the way to make it happen.
I became obsessed with emoticons since they came out in the MSN
messenger era. They were very basic then... and at first we had only
16 options. I always found it fascinating how these very basic faces
could give a tone to our online conversations.... and with time it has
become even more intense the way we communicate through these
basic faces. Using my mouth and eyes I remade these 16 expressions that became this series HOMOTICONS.”
Juan Pablo Echeverri was born in 1978 in Bogotá, Colombia,
where he currently lives and works. His work has been part of numerous group and solo shows in galleries and museums around
the world, such as The Photographers Gallery in London, The
HOMOTICONS, digital prints by
Havana Biennial in Cuba, Itau Cultural in Sao Paulo, Museum of
Juan Pablo Echeverri
Modern Art in Bogotá among others. He has taken part of 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, and 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.
TABBOO! STEPHEN TASHJIAN | Tiles
Tiles, mixed by TABBOO!
In 1997 Tashjian had a show in Positano, Italy. Having never been to
Italy, but “loving the whole beautiful tile thing that they’ve got going
on over there,” he was inspired to create a wall of 20 black and white
paintings. Whether seen individually or as a whole, perceived as a wall
of ceramic tile or not, the paintings coalesce beautifully in a kind of
democratic design – the result of which is quite striking.
TABBOO! Stephen Tashjian has been working as an artist, writer,
and performer for almost 60 years. He lives in New York City, but spent
his childhood in Massachusetts. Tashjian has exhibited his paintings
and performances in London, Paris, Berlin, Amsterdam, Hollywood,
San Francisco, Los Angeles, Dallas, Chicago, Memphis, Miami, Baltimore, Boston and Provincetown. Some recent shows include Paul
Kasmin Gallery in 2006, Participant, Inc. NYC in 2008, Contemporary
Art Museum in Satiago de Compostela, Spain in 2009, Vox Populi,
Philadelphia in 2010, and the Matthew Marks Gallery NYC in 2014. In
2013, a retrospective monograph collection of Tashjian’s career works
was published in Italy by Damiani.
Opening Reception — Fri, July 24, 6-9 pm
July 24 – August 12
STEVEN BAINES | Did you get what you came for?
Steven Baines’ paintings can act as metaphors for the passage of time, the brevity of human life as in
Vanitas and Momento Mori paintings. However they are not heavy or morbid. They are optimistic and
humorous, like sad, dark lyrics in a catchy lighthearted melody. Sometimes within romantic settings and
other times within bright bold abstractions, figurative images have been chosen for their symbolic value
to represent the fragile and transitory nature of life: luxuriantly plumed birds, moths, monkeys, ripe fruit,
bubbles, bones and UFO’s. Baines’ work also aims to encourage an escape, aiming to be beautiful, tragic,
dramatic, even romantic, but something about it seems to have an innate sense of humor which can
question the sincerity. This line between sincerity and the absurd is something we find also creeping into
his work. Sincerity wins but it’s just a little wobbly.
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
has exhibited his work at 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.
Birds Can’t Laugh, oil on canvas by Steven Baines
Owl is Fine, oil on canvas by Steven Baines
KAREN CAPPOTTO | Entering Meadowville
“Crooked is the path of eternity.” - Nietzche
The inspiration for the idea of “Meadowville” originally came
about when I went to 52 Creek St. to retrieve my friend Cesar’s
personal effects from the quaintly odd mint green cottage he had
called home for the past several summers, and which had just sold.
It was one in a group of 3 single dwellings, the single room eclectically furnished with bits and pieces of vintage treasures amassed
here and there over the arc of 15 summers where he was surrounded with essentially the same group of renters who had affectionately titled themselves ‘the sisters of village meadow.’
I had been packing my own things to head up to a remote part
of northern Vermont to take residence at an artist retreat for 6
weeks. It was possibly the coldest day of the longest harshest
winter on record….yet I had the overwhelming sensation to set
aside the temperature and quietly sketch the scene before me. A
familiar one room structure; the backdrop for so many summers
Study for Meadowville by Karen Cappotto
and the spot that frames my memory of really seeing Cesar for
the first time….and I thought, wow, had we gathered at a different venue or some slick new stainless steel
condo the visual cues would have been so very different. I understood that this was a moment to record.
That the issue of housing year-rounders here has always been a struggle. Even the first settlers packed
up and moved elsewhere….but now gentrification had really begun to shape the summer folks. The renters, the summer pals who gathered here religiously, our legacy as artists and heritage as outcasts…the
extended family of bohemian spirits…the sisters, the village, the meadow were disappearing.
The first revelation came to me through the visiting poet and feminist theologian Brian Teare, who
read his poem “Star Thistle” from his book “Companion Grasses”…, an ode to his friend who had died
from AIDS in 2008. In the poem, he made the connection between the invasive weed star thistle, nonindigenous, in true nature form, with no personal agenda, it attacks and destroys his beloved meadows
in northern California to the aids virus who has, as Provincetown intimately understands, taken root
tragically in so many lives. In star thistle meadows only bees can survive. All other animals eventually
leave or are starved due to the thorny properties of the invasive non indigenous weed. It is said that the
honey from star thistle bees is the sweetest yet the color is grey, a challenging nectar to market in any
economy if you are relying on expectations of what honey should essentially look like.
The invasive nature of progress or that gentrification has on a small spit of land, because of valuation, means only a few can really afford to be here. Coupled with a short season, and demands that our
summers be divided into one note themed weeks, has the unintentional result of limiting the range and
variety of individuals that once joyfully coexisted here each and every summer. By employing the metaphor and one note of the star thistles carpet, and applying it to the meadow I love here in Provincetown,
I began to see evidence of “grey honey” in my own life. Unable to stop the passage of time, I was now
seeing the other side of “mid-career”, the shiny glow of youth and young woman long passed... The idea
of being deliciously sweet seemed to offer little comfort.
Now I begin a series of paintings about the idealized notion of summer, youth, and unique qualities
I see disappearing. My aim is to create a fictionalized landscape comprised of collaged elements taken
out of time from this actual town at the end of Cape Cod and from my own personal narrative…vapors
that still seem to exist, albeit in tag sale set of dishes or a bench seated quietly over time…against the
historic seaside structures still standing amongst us. MY humble attempt at visually opening a gate to a
lane leading us back towards those magical “meadowville” moments we all carry within us.
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 museum and private collections and she has received multiple awards
and prizes for her mixed media constructions. One of her most distinct collage pieces, “kitchen sink drama” was awarded joint first prize in the 2010 International Picture Works Competition, the prize also including 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 Ireland (where she also resides), Palm Beach, and Charlotte, NC. In addition, Karen just completed a
six-week residency at the Vermont Studio Center.
Karen is a long time summer resident of Provincetown, and maintains her design and painting studios
here. She teaches mixed media workshops privately and at Provincetown Art Association and Museum as
well as Truro Center of the Arts at Castlehill during the Spring.
Cappotto’s paintings particularly came on the radar after winning the Lillian Orlowsky and William
Freed Grant for painting, having two successful Museum shows in a year and launching a new company
called Peg + Dick© (www. peganddick.com), a fine art standard
collection of prints and trays now picked up by Mitchell Gold +
Bob Williams. Cappotto prints have been seen in Elle decor, This
Old House, 666 Park Avenue (TV), and were featured in Kitchen
of the Year 2012 in Rockefeller Center.
“An Abstract Expressionist not seasoned by the dark urban
angst of New York, Diebenkorn rained skeins of light upon vistas
organized by lines of connection, almost not real, but indicating
a yearning to span wide gaps. When I saw this, I saw the logic of
Cappotto’s Bridge I, an oil painted on a wood panel showing the
sketched span of a bridge connecting the wide blue water to the
land masses that were separated by the water. The bridge emerges as scratches asserting the struggle to link, offering a strange
association between the blended layering of her collages and the
frank geographic connections she makes in her paintings.” —
Chris Busa, Provincetown Arts Magazine, 2012.
For an in-depth interview with Karen Cappotto, please visit:
Grey Honey by Karen Cappotto
motherlode.tv/interview/karen.
MICHAEL CUNNINGHAM + RICHARD DORFF | Dis/Enchant
A collaborative sound/story installation. Sound engineer: Sue Metro.
“As a child, I was never quite satisfied with “happily ever
after.” That is, I was always baffled by the phrase, “And they
all lived happily ever after,” which my mother or father delivered, with evident satisfaction, at the end of almost every fairy tale they read to me. I inevitably asked, “What do
you mean, ever after ? Did they live forever? And were they
happy all the time , like every second ?” Being five years old,
I had no idea how irritating a five-year-old can be. I don’t
remember how my parents answered, or dodged the question. I just know that it can’t have been answered to my
childish satisfaction, because it has remained unanswered,
in the back of my mind, for decades since. A Wild Swan , my
collection of fairy tales, is essentially a body of riffs on the
question: What happens after “happily ever after?” What
happens after the spell is broken, after the prince carries
his true love off to his palace, after Beauty marries the
Beast, after Jack has gotten rich by climbing the beanstalk
and stealing all the giant’s treasures? These are, after all,
stories unto themselves. They’re the secondary stories, the
ones spawned by the initial ones. I mean, Happil y? I mean,
Ever after ?” – Michael Cunningham
Michael Cunningham’s books include The Hours (winner of the Pen/Faulkner Award & Pulitzer Prize), A Home at
the End of the World, Flesh and Blood, Specimen Days, By
Nightfall, The Snow Queen, and Land’s End: A Walk Through
Provincetown . His story collection, A Wild Swan and Other
Tales will be published in November 2015. He teaches at
Yale University.
Installation/concept by Richard Dorff
Richard Dorff is a visual artist and set designer working
in the realm of sculpture and installation. Previously, he designed the sets for Fort Point Theater
Channel’s Indiscreet Discretion and On With Living and Learning ’s Hidden Faces of Courage .
In 2014/15, he created the installation pieces for a production of Krapp’s Last Tape and In the
Summer House , both in collaboration with the FPTC. In addition, Rick exhibited Rock Scissor
Paper , an installation at the Atlantic Works Gallery, and took part in No Ruse , a conceptual art
action by Heather Kapplow and Liz Nofziger.
Dorff is currently a co-artistic director of Fort Point Theater Channel and a founding member
of Atlantic Works Gallery in East Boston.
MIMI GROSS | August Afternoon
Atmospheres; illusion; illusive moments; time and light, changing.
Installation: a portrait; a group; a park; a beach; a road.
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, in Ginza, Tokyo, and Galerie
Lara Vincey, in Paris. She has also shown work at the Municipal Art Society and at the Port Authority
Bus Terminal in New York. Her anatomically-themed artwork is on permanent display, courtesy of
the New York City Parks Department, at the Robert Venable Park in East New York.
Her work is included in numerous public collections, including those of the Metropolitan Museum
of Art, the Art Institute of Chicago, the Hirschhorn Museum and Sculpture Garden, the Museum of
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.
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 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
August Afternoon, Looking Toward Herring Cove Beach, oil on wood,
mounted onto plexiglass at various depths, by Mimi Gross
Daze”, published by Granary Books.
HEATHER KAPPLOW | Days After the Darkest Day
Created in the early mornings of the last ten days of 2014, these daily images
capture the (supposedly) brightening sky following the Winter Solstice. The
series involves 10 images and the medium is FP100c 3.25” x 4.25” instant
film, multiply exposed on a Polaroid (250) Land Camera.
Heather Kapplow is a self-trained conceptual artist based in the United
States. 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.
LAURA WULF | Hand-Etched Color Photograms
“When photography was invented 12.23, Polaroid by Heather Kapplow
in the mid-1800’s, it effectively freed
painters from the responsibility of representation, paving the way for
the modern exploration of materials and process. Photography today finds itself in a historically parallel moment, due to the development of digital photography. Some artists are currently investigating
the fine line between fact and fiction, creating fictional “documentary” images, while others are exploring how photographic materials
can be used, other than for strictly reproductive purposes.
This work reconciles the technology and the mediated experience
of making a photograph with the tactility and the immediacy of
making a drawing. First, in the darkroom, I expose the paper multiple times, as a photogram, without the use of a negative. Then,
back in the studio, I scratch with a sharp tool or sandpaper directly
into the emulsion of the paper.
The work explores the color potential of chromogenic photo paper,
serendipity in a completely dark room and mark-making on an unfor0420059, etched-photogram by Laura Wulf giving surface. Each piece is unique and expands the notion of what a
photograph can be. When I first started making this work in the late
1990s the pieces were a celebration of the processes that I encountered daily as a printer in a color darkroom. With the emergence of digital technologies, many color darkrooms have closed and this work has
become more difficult to produce, adding a new layer of elegy to the work.”
Laura Wulf received her BFA from the School of the Museum of Fine Arts in 1996. Her work has been shown
in Boston at the Green Street Gallery, the Barbara Krakow Gallery, the DeCordova Museum, Gallery Kayafas, the
Hallway Gallery, and 13Forest. In New York City she showed with the Foley Gallery. www.laurawulf.com
Opening Reception — Fri, August 14, 6-9 pm
August 13 – August 25
BOBBY MILLER | SUPERSTARZ + Profiles
(Through September 2)
“Most of these images were culled from my book “Fabulous! A Photographic Diary of Studio 54” taken
at the most famous nightclub of all time during the first 3 years of its existence 1977 to 1979. So many
superstars passed through those doors and I was lucky to capture them. Other images like Debra Harry,
the lead singer from “Blondie,” Donna Summer, the great Disco era singer, and Chrissteen the most recent punk rock performer were taken elsewhere and more recently.
I chose the title “SUPERSTARZ” because each of these artists do indeed fit into that category. For me
a superstar is an artist who has become a household name and are known by millions around the world.
Though the original images were shot in black and white and on 35 mm film, I decided that I wanted to
pay homage to my friend Andy Warhol for his own colorful silk screens in which he created the idea of
Pop Art by color blocking the background of each photo with vivid colors that I chose for each image.
In this era of “selfies” I chose to include my own self portrait in this collection even though it was shot in 1977
and reflects my excitement during that time period of having photographic access to such great luminaries.
All images are from the original negative format and printed on archival velvet fine art paper and
printed with archival inks.”
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 Out-
SUPERSTARZ: Grace Jones, Edie Beale and Andy Warhol, photographs by Bobby Miller
law 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”.
His 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 New School during the last year of her life.
MICHAEL ANTHONY ALAGO | Even Gods Dream
“I have loved photographs as far back as I can remember. I always wanted to look at family albums and see what stories were
being told through the mostly black and white images. As I got
older I started to carry around a Kodak 110 plastic camera and
later a Polaroid camera. I took pictures of everything from rock
and roll to erotic images of my ‘one night stands’ .. Later on after
quitting the music business, where I was a producer for many
years, I devoted my time to shooting images of my favorite subject...men! I would shoot with my trusty Polaroid and later digital
cameras and now with the iPhone and Hipstamatic app as well.
My images are strong and not glossy in any way whatsoever. I
think they are straightforward rugged and erotically charged. I
loves muscles and scars and tattoos and that’s my focus when
Family, Gary, photograph by Michael Alago
looking for a man to shoot.”
Michael Anthony Alago, a seminal producer and talent scout for nearly 20 years, has become a
household name in the music industry for his expertise in a variety of musical genres. In addition to
discovering Metallica, Alago has accumulated a roster that includes such diverse artists as Michael Feinstein, Johnny Rotten, White Zombie, and Nina Simone. “Recording with the incomparable Nina was my
finest hour,” says Michael, who worked with Simone on her final album, the critically acclaimed “A Single Woman.” 2010 saw Alago team up with Cyndi Lauper on her Grammy-nominated album “Memphis
Blues,” for which he served as A&R executive.
Alago left the music business in the summer of 2003 to concentrate on another lifelong passion—photography. Working initially with a Polaroid camera, Michael embarked on a series of
stark, erotic male portraits—a series that continues to this day. While these images of friends,
models and bodybuilders feature the muscular physique, tattoos, and attitude that define this
particular male subset, they also bear Alago’s distinctive stamp of irreverent heat. A collection
of his work entitled “Rough Gods” was self-published to great acclaim in 2005, which led inter-
national publisher Bruno Gmunder to sign Michael up and to
publish his coffee-table books, “Brutal Truth” and “Beautiful
Imperfections”. Most recently, Michael collaborated with “Life
of Agony” singer Mina Caputo on a book of poems, observations and rants called “Night Blooming Jasmine Will Never
Smell The Same,” which was published in the fall of 2010.
Alago has exhibited in New York, Paris, Berlin, San Francisco,
Pittsburgh, San Diego, Montreal, and Toronto, and continues to
photograph rough gods wherever he may find them.
In 2015 there is documentary being made about Michael called
“WHO THE F**K IS THAT GUY?, The Fabulous Journey of Michael
Alago.” The film speaks of his 24 years in music with all the ups
and downs of a music executive as well his battles with addiction,
HIV and his recovery and reinvention as a published photograBalbino Dreaming, photograph by Michael Alago pher. A fascinating and cautionary tale.
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 Comm 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, photographer 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.
Bathroom Series, Fayja & MJ,
photograph by Bobby Busnach
After 25 years of
ignoring his need for
visual expression, and
lacking an outlet for his
‘voice,’ at the age of 50,
with only a 9th grade
education, Bobby completed his GED, and
graduated from Massachusetts College of Art
and Design with Honors
and Distinction, along with Departmental Honors in 2010.
Bobby Busnach is picking up where he left off, but with an
education, a new outlook, and a lifetime of experience. “I am a
survivor,” say’s Bobby, “but now it’s time to succeed…”
Fayja, Queens and White Haired Woman,
photographs by Bobby Busnach
KATRINA DEL MAR | Feral Women
With Feral Women I continue to explore the theme of wild women who
break with convention, an obsession of mine since childhood. The wildness in women, sometimes overt, sometimes subtle is, for me, a manifestation of innate inestimable power and therefore a source of the divine. Large scale, hi octane, full color, super-saturated photographs could
be scenes from forgotten, fantastic films. The high hard femme, the bad
girl, the rocker, the biker, the surfer, are icons of a new feminist pantheon.
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 the summer
season of 2013. Likewise, her solo exhibition Summer Sang in Me,
Two Kembras, c-print by Katrina del Mar
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 con-
ducted 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 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 at work on a “non-linear, semi surreal”
documentary-style web series called DelMarvelous: A Day in the
Life, Katrina del Mar, which will be screened at AMP during this
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
Gina, bodega, c-print by Katrina del Mar
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.
JUAN PABLO ECHEVERRI | Daily Passport
Photos, since June 2000, ongoing
Juan Pablo Echeverri was born in 1978 in Bogotá, Colombia,
where he currently lives and works. His work has been part of numerous group and solo show in galleries and museums around the world,
such as The Photographers Gallery in London, The Havana Biennial
in Cuba, Itau Cultural in Sao Paulo, Museum of Modern Art in Bogotá
among others. He has taken part of 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, and 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
Daily Passport Photos, by Juan Pablo Echeverri Arts Work Center in Provincetown.
August 26 – September 20
Two Opening Receptions — Fri, August 28, 6-9 pm
BARBARA COHEN | Current Model: New York City Dumpsters
(August 26 through September 20)
“Looking back over the years of my career as a painter and
sculptor, a common denominator for my imagery continues
to be the square and the circle. Constantly recycling textural
surfaces of previous paintings, I begin each new work with
a trace of the geometric forms that came before: a gentle
pentimento lifting the inner spirit to what is yet to be.
This sampling of my own visual imagery, blending tones
of past and present, is the motor that keeps me charged to
take simple, everyday objects to their point of exhaustion:
working line and color to what feels like a temporary conclusion. And just when I think I’ve finished, the dance continues
for another round; an even more relentless stretch of mind
and matter until the hunt for ways to see a particular form
Dumpster Series, painting by Barbara Cohen
– my own Platonic quest – mysteriously ends, only to be
replaced by another ubiquitous yet singular item.
Most recently, it was the almost empty traces of the Venetian Sling, a commonplace yet culturally
unique part of Venetian landscape that embodies positive and negative space. The more I worked its form,
the more possibilities possessed me. The Venetian streets are also filled with small, colorful “pipes”: their
blending of circle and rectangle caught my eye as a subject for exploration.
These days New York City trash containers on wheels
are my passion, those every day, mostly overlooked and none
too tidy boxes that get towed from demolition sites to incinerator vehicles. The boxy, rusted, colorful figures bring back
the colors and shapes of my Pennsylvania youth, box carts at
the Hershey Amusement Park fair grounds or Wheelie toys
zooming down roller-coaster ramps, with their tones of indigo
blues, forest greens, fire engine reds, sunflower yellow and
mandarin oranges: flickers of color memory lights the spirit
against the hardcore edge of New York.
The dumpsters stand tall, slender and strong regardless of how they are tossed and torn around. I’m taken
by their holding of tons of waste and useless debris. The
Dumpster Series, painting by Barbara Cohen
hard-hat fellows on the job “don’t get it,” but they generously assist in posing the armatures for the camera. How
could a tossed-around piece of street furniture get a rise so high? Perhaps that’s the definition of
my work: to be captivated, caught up in a quest. The process of editing such basic shapes follows
its own logic, as the work unfolds for weeks, months and years on end.”
+ Fri, September 4, 6-9 pm
Barbara Cohen received her 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. She has received numerous grants including the Pollock-Krasner Foundation, the Artists Foundation Mass Fellowship Program, Polaroid Artist
Support Program, Blanche E. Colman Award and grants from the Cambridge and Massachusetts Arts
Councils. She received an artist’s residency 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.
Barbara is the author of the current book, Venezia: Essenze, 2013, a series of painted Polaroids of
Venice, Italy, published by the Italian editor, Damocle. She is also the author of New York Love Affair,
2010, a collection of painted Polaroids of New York City, and Dog in the Dunes Revisited, 2005, published
by Fields Publishing. The original Dog in the Dunes, 1998, a series of painted photographs of her black
Labrador, Gabe, set in the dunes of Cape Cod, was published by Andrews McMeel. Provincetown ‘East
West’, a selection of her painted Polaroid landscapes of this small seaside town, was published in 2002
by University Press of New England. Her other books include, Woman’s Best Friend; A Celebration of
Dogs and their Women 1996, published by Little Brown and Company as well as, Dogs and their Women,
1989, Cats and their Women, 1992, and Horses and their Women, 1993. www.barbaracohen.com
ANNE CORRSIN | The Reverie of Opposition
(September 3 through September 20)
“My work is focused primarily on sculpture, installation and drawing. I look to strike
a balance between formal and conceptual concerns. Materials I use vary and the
choice (paper, glass, metal, textile, wood) is part of the process and the idea.
The phenomenon of opposition is an area I have been investigating: natural vs. industrial, female vs. male, obvious vs. hidden. Often it is about the
necessity and tension in these relationships.”
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
Block and Spindle, by
Anne Corrsin
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 locally and nationally at galleries including Barbara Krakow Gallery
(Boston, MA), Real Art Ways (Hartford, CT), Sacramento Street Gallery
(Cambridge, MA), HallSpace (Dortchester, MA) and Luhring/Augustine
Hidden in Plain Sight I, by Anne Corrsin
Gallery (New York, NY).
BARBARA HADDEN | Remembering it Wrong
(September 3 through September 20)
“When a painting or a photograph works, I feel a wonder about
where it came from, what has intervened to make it happen,
as I do with leaf patterns or graffiti or cave paintings in France.
Science and guesswork still can’t tell us who made the cave
paintings or when. At the base of some of them are scratch
marks, not made by human hands (perhaps by bears), which
to me are the most interesting. Yes, this is a bison, and this is a
human hand, but what are these scratches?
I’ve spent years in the darkroom making photographs and
then in the studio making paintings, observing strict rules
about keeping the two activities separate. Now I am combining the material and tools of paint with the figuration and tools
of photography, and the ability of both media to evoke and
Untitled, by Barbara Hadden
abstract. I use tape, trowels, scrapers, rags, and brushes, and
also overhead and slide projectors.
Most of the time it takes months to resolve an image, and I don’t always know when it is right. Sometimes others have to tell me. The process mirrors how I live and make sense of life: I make mistakes, struggle with communication, and get into trouble. Sometimes I feel that
rightness, that wonder, as though a
member of some other species made
that scratch, left that trace.”
Barbara Hadden is a visual artist who explores the intersections
of film, photography, and painting.
Her work has appeared in two exhibits this year, one at the Hampton Gallery at UMass Amherst,
and the other at the Oxbow Gallery
in Northampton, MA. In 2012 her
films were featured in the 25th New
York Queer Experimental Film FesDecoy, by Barbara Hadden
tival. Hadden studied at the School
of the Museum of Fine Arts, Boston, which awarded her an Alumni
Traveling Fellowship for her work in photography. Hadden was a finalist in the Regional Fellowships for Visual Arts, awarded through the
New England Foundation for the Arts.
Bass Amp, by Barbara Hadden
Opening Reception — Fri, September 25, 6-9 pm
September 23 – October 7
SUSAN BERNSTEIN | Mud and Metaphor
“My work is hand built using coils of clay or slab to construct
the piece. I am inspired by potters from around the world –
from Nigeria, Burkina Faso, and South Africa to Ghana, Mexico,
India and Korea. Through books, films and travel, I watch a potter’s hands blend a big coil of soft clay onto the rim of a pot and
recognize a kinship in our common craft.
In American culture, words usually dominate our intellectual,
emotional and even spiritual fluency. By connecting hands to clay,
we can offer an opportunity to bypass the mind and linear thinking.
We can link to an ancient human craft that transcends time and
space. This is the territory I am most at home in, where touch is Mud and Metaphor, detail, by Susan Bernstein
primary, and knowledge and memory reside in the fingertips.”
Sixth century Chinese philosopher Lao Tzu wrote, “We make a vessel from a lump of clay. It is the
empty space within the vessel that makes it useful. Thus while the tangible has advantages; it is the
intangible that makes it useful.” The space that is held waits to be filled and transformed by experience. A poem can be viewed as a vessel shaped by metaphors to hold meaning beyond itself. Mud and
Metaphor is a tribute to The Oldest Thirst There Is, by 13th century Persian poet, Rumi.
Mud and Metaphor, as a piece, is intended to be an experiential opportunity to wonder about longing and trust. Sometimes what we thirst for seems so far away yet perhaps it is closer than we think.
The large bowl made of clay is filled with water, which one can dip a paintbrush into and make their
own mark or words on a slate canvas, which disappears when it evaporates. Does not the light fill the
poem, the bowl, the water, the brush, and the maker of the line?
Susan Bernstein lives in Cambridge and Truro, MA, and is a resident artist in Studio 13 at Mudflat
Pottery in Somerville. Her work is all hand built, using coils of clay or slab to build up the piece.
KATHARINA CHICHESTER | Genesis
Seven ice cubes dyed in the colors of the rainbow will be left to
melt during the opening of the exhibition. This will cause a free
play of colors to unfold on the aquarelle paper. The work can be
read as a metaphor for the melting of the glaciers on our planet.
“Since 1989, I have been working with the colors described in the ‘American Indian Genesis’ with their attached
mythological
meanings:
Red=Justice,
Orange=Peace,
Yellow=Healing, Green=Caring/Fulfillment, Blue=Inspiration/
spirit, Purple=Spiritual Presence, and Violet=Purification.”
Katharina Chichester was born in 1949 and raised in
Bonn, Germany. She has shown her work extensively in solo
Ice Cubes, by Katharina Chichester
and group exhibitions in Germany and the USA. In addition, she has a theater background, and has
appeared in performances throughout Europe. Katharina has worked as an instructor and professor
for many years in Germany, Virginia and Washington DC. She is also a recipient of Art Fund-German
National Arts Endowment, as well as receiving an Artist-in-Residence Fellowship from the Fondo del
Sol Museum in DC.
PAULA CLENDENIN | Black Water and White Lies
“I believe that I am a modernist with an Appalachian eye. West Virginia
has been a big influence in my work. I use coal, rust and surface textures to reveal the impermanence of life by showing both beauty and
decay. My constant goal is to be “in-situ” with my art work, to access a
creative space, a conscious and unconscious, to have a silent conversation with my work, and sometimes, a silent dance.
I work in series. Sometimes they are independent of other works
and many times they circumvolve each other. My art reflects my
life and my culture at large. Appalachia has a very long history of
exploitation, but even more so lately with West Virginia becoming
“ground zero” for the war on the environment and its people. Last
year, 300,000 people in my hometown had their water poisoned
by a fracking chemical spill into the river which was our main water
Dark Water Series IV, by Paula Clendenin
source. Fracking and Mountain Top Removal are destroying not only
our land and water but also the people, economically and physically.
The three series “Black Water”, “Almost White Lies” and “White
Lies” are influenced impressions of water and its loss….my work is an
expression...perhaps a warning.... that West Virginia is “the canary in the
coal mine” for the entire nation.”
Paula Clendenin is a West Virginia native. She received both her BA
and MFA degrees from West Virginia University in Morgantown, and until
just recently served as a Professor of Art at West Virginia State University.
Born in Charleston, she spent most of her childhood in Cedar Grove, a
small mining town. Memories of those years reveal her early interest in
textures and the surface patina of the objects around her. In 2002, during
a trip to Paris, she once again became intrigued with the old walls and
edifices around the city. While previous work concentrated on the use of
personal symbols and mystical color, Clendenin’s current work moves to
expand a visual dialog that continues to reflect on her personal experiences, while revealing a keen eco-political perceptiveness. Remaining true to
Almost White Lies III, by Paula Clendenin
her paintings, these elements strikingly merge to create a potently beautiful visual response to the fierce ecological changes happening to her native West Virginia and elsewhere.
JAY HALL | Shadow Boxes
“I have been an artist for the past 40 years, working in oils, watercolors
and mixed media. For the last 10 years I have explored working in shadow
box format, as well as doing my oil paintings.
Ever since I can remember, I have found Saquish, a stretch of private beach
in Plymouth MA, a source of inspiration for nearly all of my works. Even today
with the beautiful beaches of Provincetown, they bring me back to Saquish.”
Jay Hall graduated from Massachusetts College of Art in 1981 with a degree in both art education, painting and drawing. He studied with George Nick
and Norman Toynton. However, he credits Dorothy Palanza as being his main
support ever since they graduated together from Mass Art in 1981.
Gallery exhibitions include a one man show at the Helen Bumpus Gallery in Duxbury MA., Art Current Gallery in Provincetown (2011), and a
show of watercolors in New York. A number of his paintings and readymades are in private collections.
Jay currently lives in Provincetown, and is a member of the Plymouth,
Duxbury and Cohasset Art Associations.
Lunar Landing, by Jay Hall
SUSAN ISRAEL | Rising Tides/Rising Waters
“In 2008 I decided that I wanted to do something to improve the environment that would have an
impact beyond what I could do as an individual. I had been an architect for my entire career, and
wanted to expand my influence beyond that role. What would motivate other people to do more as
well? Something fun and visible. What was preventing people from doing more? Fear, and lack of
belief that their actions matter.
Rising Tides/Rising Waters, is marking the flood levels with fish to show the impact of rising sea
levels due to climate change.”
Susan Israel is a LEED Accredited Professional;
Connective Leadership Institute certified trainer; and
a member of the Harvard Alumni Association Board
of Directors. Susan is the Principle and Founder of the
Energy Necklace Project, created to connect a community that fosters awareness and action towards improving the health of our environment. Previously, she led
Susan Israel Architects, and worked for Moshe Safdie
and Graham Gund. She earned an A.B. from Harvard
College, a Master of Architecture from Harvard Graduate School of Design, and attended the Museum of Fine
Rising Tides/Rising Waters, installation, by Susan Israel
Arts School in Boston.
SHARI KADISON | Let’s Go
“It’s hard to see the truth; my art seeks to make
that which we associate with truth more accessible. I ask the questions to get you to come to your
own answer of truth, what it means to you.
I create art using found objects as well as organic materials. The subject matter is enriched by
the inherent history of the original use of the articles selected. Various items, scraps of paper and
natural materials are combined, losing their identity. After being screened through my own personal
history, our common histories are revealed.
This delicate balance of storytelling and visual poetry is sometimes humorous – sometimes dramatic.
The strength of the whole poses a question in each of
us and that question is each ones separate answer.”
Shari Kadison grew up outside of New York
Keep Off, by Shari Kadison
City, and relocated in Boston to attend Massachusetts College of Art in 1976. Since then, she
has shown extensively, participating in both solo and group exhibitions. Her work belongs to many
corporate and private collections.
Kadison’s work offers a kind of open road map into her life experience, philosophy, aesthetic, and
vivid awareness of the organic and inorganic world around her. As both a poet and sculptor, she deftly
intuits and elevates all matter of found form into subtle visual elegies, while never sacrificing their primal
integrity. Beckoned by the rough edges and delicately compelling constructions, you find yourself leaning in to enter small worlds that somehow feel universally infinite, human and familiar.
LUANNE WITKOWSKI | Story
“My work is narrative, but I am not the narrator. My art is evocative, a story, and I’m sticking to it… I
work intuitively to create pieces rooted in and extracted from landscape and experience. The story
is a process-driven visual and tangible response to the experiences of creating and documenting
exploration. I am intrigued by the world around me... from the tiniest grain of sand to mountains
of stone and architecture, from a drop of rain to a raging tsunami, the quietest sparkle of dawn to
foreboding dusk. Incorporating the very elements that influence and inspire—clay, pigment, light,
chemistry, technology—I am engaged to be informed, embrace, and understand. Traditional and
nontraditional media mingle to capture a perceptual and spiritual relationship as locus for recognition and interpretation of the story. My approach is enlarged by a desire to discover and contact the
particular indwelling essence or energy of a particular memory and impression.”
Luanne E Witkowski is an American artist working in a wide range of media and reflective and social
practice, mainly in Boston, Wellfleet and Provincetown, Massachusetts with works in collections throughout the United States and abroad. She is a member of
the Kingston Gallery, Boston; represented by Hutson
Gallery and AMP Gallery both in Provincetown, MA.
She exhibits regularly and produces environmental
and site-specific installations as well as studio work.
Luanne is a member of several artist organizations
including the United South End Artists, Mission Hill
Artist Collective, and the Provincetown Art Association
and Museum.
Her Basic Training for Artists and Creative People
Workshops (Healthy Artist/Healthy Studio) are offered
in collaboration with public and private institutions.
Honors include: Commonwealth of Massachusetts
Lifetime Achievement in Art & Commerce Commendation. lewstudio.com, kingstongallery.com, hutsongallery.com, and artmarketprovincetown.com
Placed Gift of Place, diptych, by Luanne E Witkowski
DOROTHY PALANZA | Co-Curator
Dorothy Palanza was born in Massachusetts, into a classic Italian-American family. She maintains both
Italian and US citizenship, is fluent in multiple languages, and has traveled throughout Europe, the
Middle East, North Africa and the Americas. Palanza is a graduate of the Massachusetts College of
Art and Design (BFA) and the University of Massachusetts, Amherst (MFA), studying painting with
Jeremy Foss and John Grillo (thesis advisor, a student of Hans Hoffman), and printmaking with
Fred Becker. In the following years, she worked as a muralist, fine artist, decorative painter and
designer, first in New Orleans and then NYC, where she retains a following. She apprenticed as a
decorative painter with European master Alfred Junke and NYC’s Vincent Inamorata, and in 1992,
founded Colorfields Studio in NYC. During 1999, she moved Colorfields Studio to Berlin, living and
working there and in NYC. In 2008, Palanza relocated Colorfields Studio to Provincetown, MA (the
oldest continuous art colony in America), in 2011 re-opened a studio in NYC and in 2014 added a
sculpture and welding studio in Hancock, NH. Palanza has always felt passionately about painting
and working with color. A rich knowledge of paint chemistry, and effects of color, form and texture on
large surfaces is evident in her work. Resisting thematic conventions, her work reflects the personal,
environmental and sociocultural influences from her life experience and history of exploration and
collaboration in the arts. Palanza has had numerous commissions, group and solo shows, museum
exhibits, and is collected by private patrons internationally. In addition to fine art, decorative, restorative and design endeavors, she has also co-authored screenplays, animated series, and two
popular European children’s books, ‘Helma legt los’ and ‘ Helma legt die Gockel rein’.
October 9 – November 1
Opening Reception — Fri, October 16, 6-9 pm
JUDY KERMIS BLOTNICK | Counting Women
With a BFA from Pratt Institute Judy Blotnick had no choice but to
become a fashion designer for 20+ years (so she could eat) before
realizing that she really just wanted to make art ABOUT women’s voices, the fashion world and consumerism. She wound up at Boston’s
School of the Museum of Fine Arts/Tufts University where she now
teaches, what else.... a course about art and the business of fashion. A
native New Yorker, she happily lives in Boston where she indulges her
other passions: drumming, improv and Ticonderoga pencils.
Judy Blotnick is a graduate of the School of the Museum of Fine
Arts, and has attended Pratt Institute, School of Visual Arts, Art Students League, and Columbia University. She is the recipient of several prestigious awards for her work, including a Mass Cultural Council Award Finalist for Painting, Open Studios Press – New American
Paintings #50, SMFA Traveling Scholars Award Winner, and the 91st
Ruth A. Sturdivant Scholarship, along with residencies at the Vermont
Studio Center and Fine Arts Work Center in Provincetown.
Woman series, by Judy Blotnick
Blotnick has participated in numerous solo and group shows
in New York and Boston over the years. She is currently an associate faculty professor at the SMFA/Tufts University, “Art as Fashion,
Fashion as Art”, as well as having been a visiting lecturer at Harvard
University and contributing editor to various arts publications such
as Big, Red and Shiny and Beacon Hill Times. In addition, she was the
Executive Director of Beacon Hill Seminars, Women in Film & Video
(New England), and Hill House in Boston, along with a career in fashion design at Halston, Schrader Sport and Manhattan Industries in
New York that spanned from 1970 to 1985.
JEANNE-MARIE CREDE | In the Middle of Everything
Ancestor, woven globe, 40 “ diameter,
mixed, by Jeanne-Marie Crede
“My art reflects my fascination with how the threads of existence weave
together to form a whole. Like particles creating matter, debris from
the streets and lost objects from second hand stores tell a new story of
chance and creation. Using imagery and metaphor from Pop Culture,
World Mythology and the material reality we all live, I glue together the
various objects, papers and other ephemera, and I have a sense that I am
retelling or possibly telling for the first time, a story of a life. I envisage ancestors dreaming of their descendants, of bloodlines breathing their old
stories into new lives. Every thread that is cast out into the universe binds
with others into new existence. And, for me,
that new existence is the magic I work devotedly to express in a piece of art.”
Jeanne-Marie Crede is a selftaught mixed medium artist who has
lived in the Boston area for the past 39
years. She has shown in galleries, museums and other venues all over New
England. In trying to promote the idea
that everyone can benefit from being
creative, she has developed a series
of workshops entitled “Adults at Play”.
She currently works out of the Vernon
Street Studios in Somerville, MA
In the Middle of Everything, mixed, 27x54”, by Jeanne-Marie Crede
MIMI GROSS | Charm of the Many
“Charm of the Many, such a derangement, does not mean
that many were charming, nor does it mean that many
have a charm. It alludes to a surprise: in the act of painting
many a different one lies a charm, single, inborn, and the
painter is exposed. Is acted. It has to do with unexpectable
sameness, it is serendipitous as well as recalcitrant and
alarming. It lurks, very real, not behind but in front of the
surfaces. It amounts to a lonesome surface, the surface of
portraiture, and deals with an absence, because one does
not portray life, death is the subject. Death is the component and the span, the deeper one portrays the more it
dawns on us. A sameness, not opaque, with a great variety
Portraits by Mimi Gross
of resonances, a repeated syncope. Charm of the Many is
to be sensed, obviously, under the light of Mimi’s own Coptic ways, Fayoumesque, on the arduous path of appearance.” -Dominique Fourcade
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, in Ginza, Tokyo, and Galerie Lara Vincey,
in Paris. She has also shown work at the Municipal Art Society and at the Port Authority Bus Terminal in
New York. Her anatomically-themed artwork is on permanent display, courtesy the New York City Parks
Department, at the Robert Venable Park in East New York.
Her work is included in numerous public collections, including the Metropolitan Museum of Art, the Art In-
stitute of Chicago, the Hirschhorn Museum and Sculpture Garden,
the Museum of 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.
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 2010-2011, and has taught
Natasha Shapiro by Mimi Gross
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. www.mimigross.com
SUSAN KRAUSE | Ghosts and Others
Past Life, by Susan Krause
“I didn’t really know what these portraits meant to me as an
artist until I started to delve into language to talk about them.
I joked about the dead people gallery, referring to them as
ghosts, but didn’t truly get their significance.
It wasn’t until I had finished 4 of the portraits that I became conscious of the fact that I was portraying each person
as if they were apparitions existing in a liminal state somewhere
between order and chaos or mythology and reality. They were
ghostly and monochromatic like old sepia photographs.
Although each painting is of an actual family member or
friend, they exist not only in the realm of portraiture, but as
archetypes or as representatives from another country that
we will all visit someday. They are our guides, but leave us
with more questions than answers about what comes after
this life, who are we in relation to each other, what effect do
we have on this world and how will we be remembered or who
will remember us. I am exploring our tenuous connection to
each other and our desire to hold onto those who have gone before us. I am remembering.”
Susan Krause is a painter working in many mediums. She
was born in Cleveland, OH. Her family moved to Michigan when
she was 10 years old; thus began a migratory journey that
would unwittingly trace the steps of her ancestors both paternal and maternal in reverse.
As a child, Susan was interested in everything. She began to
read at the age of 4 and by 6 she was writing stories and plays,
corralling the neighborhood kids to act in them. She has an MFA
in creative writing from Sarah Lawrence College.
She came to painting later in life in response to needing a way
to be creative that would get her out of her head. Watercolor was her
first foray into painting. It was love at first brushstroke. Susan now
paints using oil, watercolor, gouache, oil sticks, chalk pastels and oil
pastels, sometimes singularly and other times mixing mediums.
Rebel, by Susan Krause
Susan has painted with Michael Dowling, founder of Medicine
Wheel Productions for many years. She teaches watercolor at The Boston Home, a full care residence for
people with neurological diseases. She also teaches adults fifty-five and older in an aging creatively program through the Boston Public Library.
JENNIFER MOLLER | Unbidden
“I have been sketching and drawing since childhood. Since the death of my
father in 2008, I have been more intentional in my drawing practice and I
have wanted to make drawings that come from somewhere outside my conscious thought. A started a blog and titled the drawing series “unbidden” because of these origins. Later, when the images start to repeat themselves I
become more intentional and I can see connections. Meaning floats out of
the insistent forms and deep meaning always finds a way to expression.
I am an interdisciplinary artist working in both traditional and digital
mediums. I especially like to make drawings and photographs and then animate them. My childhood love of drawing has continued to this day. While
working as a professional photographer and later as a videographer, I have
continued to pursue personal work and exhibit when possible. I created
several video festivals including installation, video projection, and public
engagement. I exhibited an installation video work entitled Seas in multiFloppy Slippers, by Jennifer Moller ple solo shows including one at the Cynthia Reeves Gallery, Chelsea, NY in
2009, and most recently at AMP Gallery earlier this year. Currently Seas is
in the permanent collection of the Hood Museum at Dartmouth University.
After graduating from Maine College of Art in 2003, I started teaching as an
adjunct professor at the Art Institute of Boston. My own interdisciplinary nature allowed me to teach in three departments; illustration, animation, and foundations.
I have been fortunate in winning a few awards for my artwork including,
an MCC grant in film and video in 2005. Other honors include an invitation
to teach as an Artist in Residence for a semester at the Institute for American Indian Art in Santa Fe, New Mexico in 2010.
Born a twin, I continue to enjoy working in a collaborative framework
and I have partnered with the sculptor and woodworker Beth Ireland. We
have joined in on multiple adventures, with a special love for social art action projects. We co-founded Turning Around America and have worked together to share our interest in what is hand-made and our belief that art
empowers people. This collaborative work has taken us to Guatemala and
Fire, by Jennifer Moller
across the United States. We had a successful fundraising project in January of 2013 to raise money to build a mobile art studio, “Sancturary.” We hope to travel to art centers,
museums, and to the places where people do not get exposure to art.” www.jennifermoller.com
AMY SOLOMON | Altered + Missing You
In Altered, a variety of mediums are employed to give new context to found discarded photographs. The works
are scratched, rubbed, immersed in water and then sewn together to create a sense of age, place, romantic
imagery, relativity, and change. With Missing You, Solomon’s new paintings, she dig deep into the surface, with
minimal precision, to explore and unearth a sense of the air that holds us, our memories and our mortality.
Amy Solomon is a painter and mixed media artist who has been scratching with razors on canvas and
building on painted surfaces with wax and various mediums found around the studio. She has a BFA from
Mass College of Art and Design. She has
been teaching art in and around the Boston
area for the last twelve years.
Bound, by Amy Solomon
Pink and Earth, by Amy Solomon
+14inches gallery | Outdoor
JUDITH MOTZKIN | See How the Water Falls + Buds
“What comes out of the kiln, although a direct result of what goes in, is always a
mystery. It is this painting with fire that brings the work to life. By setting the circumstances for accidents and responding to the information revealed through the
process, I have developed some control and refinement of the surface possibilities.
Still the fire repeatedly teaches me to leave expectations behind. It is this relationship with fire that inspires me as I “paint” each piece with this palette of sawdust and
straw, setting the circumstances for a wash of smoke and flame
to paint the final coat. I hope for results that express the random
Concept , by Judith Motzkin
beauty of nature, unpredictable and the always new.”
Judith Motzkin studied Asian Studies at Cornell University (1976). It was there that
she began working with clay while studying the history of ceramics in Asia. At Clay
Dragon Studios (1977-1985), influenced by travels to Mexico, New Mexico and China,
she began to experiment with smoke and fire on polished classical clay forms. Over
time, her work has expanded to include mixed media assemblage and installation.
Judy had several solo shows and has been included in numerous international gallery and
museum exhibitions She was founding director of the original Cambridge Artists Open Studios. She curated “Smooth and Smoky” (2009) an international exhibit of pit, smoke and saggar fired ceramics at Vessels Gallery, Boston, and co-curated “Legacy of Fire: Clay Dragon Studios Revisited” (2015) at Fuller Craft Museum. Her work is in permanent collections including
Boston Museum of Fine Arts, Crocker Museum of Art, and Jingdezhen Ceramics Museum in
Buds, by
China. She has taught at MIT, Harvard, and Castle Hill Center for the Arts .
Judith Motzkin
SAM SMILEY | Weed Science Theater + Folius Electronicus
Weed Science Theater: Not unlike the rest of Provincetown, a seasonal drama
will unfold in the +14inches gallery. Invasive species and weeds vie for space
to live. A short growing season means they have to work extra hard to survive.
There’s not enough space, and encroaching development from Japanese Knotweed threatens the wetlands. Rhizomes out-compete roots. Who will survive
the Provincetown summer at Weed Science Theater? Folius Electronicus: This plant is native to Radioshack, but has taken root outside of AMP for the summer season. It is a 4 season plant, and has no known
predators. As an attractor to outdoor listeners, it will be playing audio interviews
with gardeners from Provincetown’s B-Street garden through “speaker buds”.
sam smiley’s intersectional identities include media artist and educator, forager, and gardener. She is also a doctoral student at Tilburg University through
the Taos Institute. Her dissertation, called “From Ornamental to Invasive: The
Secret Lives of Weeds” explores weed and plant subjectivity. smiley uses STS,
cultural studies, history of science and arts-based research to do a cross cultural
comparison of the development of Japanese knotweed as “invasive species”.
AMP: Art Market Provincetown | 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 cuttingedge, 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
148 Commercial Street, No. 1
Provincetown MA 02657
508.413.9090
646.298.9258 cell
Open May 22 – November 1, 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 © 2015
Edited by Susan Goldberg