Still making paintings on paper of different knotted forms...
This year I am teaching at the University of New Haven and the school produces its own news program called the Charger Bulletin. A journalism student interviewed me and my colleague David Livingston about our works in the Seton Gallery. Here's the link.
I'm delighted to be included in the New Faculty show "At Work" at the University of New Haven's Seton Gallery. Join me for the opening Reception next Wednesday, October 4th from 4 - 7 p.m.
Through October 12th
Featuring works by David Livingston, Jacquelyn Gleisner, Caroline Valites, Serdar Arat, and Luis Victori
Seton Gallery, University of New Haven, Dodds Hall, 300 Boston Post Road, New Haven, CT
#FSUsketchbookproject completed on my birthday! Featuring (23) - blank-, (24) Jonah Feingard, (25) Nichole Gleisner, (26) Nichole Gleisner, (27) Lindsay Alberts, and (28) Erika Schneider.
The fourth set of sketchbook pages from Mazmanian Gallery with the hands of (17) Marissa Malbrough, (18) Josie Dooley, (19) Conall Dooley, (20) Estelle Vignon and Frances Dooley, (21) Emily Robinson, and (22) Tessa Jillson.
Read about my current installations in Peterborough and Newburgh at the links below:
"Folds of the Cloak" will be on view at the Sharon Arts Center in downtown Peterborough, NH until September 17, 2017.
"The Interaction of Colour" continues at the Ann Street Gallery in Newburgh, NY through October 14, 2017.
Art21 Magazine - "Inspired by a True Story"
Read my article about Maureen Drennan's series 'Highway to the Sun' on the Art21 magazine here. This series of photographs was inspired by the epic road trip of four friends—one of whom was Drennan's stepfather—departing from Hanover, New Hampshire, on a five-thousand-mile trip to Alaska.
Check out Drennan's photography at the group show 'Portals' at Transmitter Gallery in Brooklyn, on view through September 10, 2017.
Transmitter Gallery, 1329 Willoughby Ave, Brooklyn, NY 11237
We finished installing at the Ann Street Gallery yesterday evening. Here's a shot of the finished installation.
I'm excited to include an installation in the "Interaction of Colour" show at the Ann Street Gallery in Newburgh, New York.
The Ann Street Gallery
104 Ann Street
Newburgh, New York 12550
"Interaction of Colour" opens August 19th from 6:30 - 8:30 p.m.
The show is curated by Virginia Walsh.
Lumia: Thomas Wilfred and the Art of Light, light art compositions by the Danish-American inventor and musician, closed last weekend at the Yale University Art Gallery. The exhibition’s title refers to the name Thomas Wilfred (1889–1968) gave to his kinetic artworks. Arranged chronologically, the works in this exhibition escalate in ambition from Wilfred’s earliest home devices in the “Clavilux” series to a large, public installation, commissioned by the Museum of Modern Art in New York City.
Wilfred created the first “Clavilux” instruments in 1919, nearly a decade before the first electronic television was invented. Light traveled through rotating mirrored surfaces from a painted “color record” onto a screen. The earliest instruments were performed live for viewers. Later, the mechanical projection machines were housed in small cabinets resembling TVs; however, unlike the television, Wilfred’s lumia were intended to be silent. Wilfred was a musician, yet he was adamant about producing an experience of color without sound for viewers.
Wilfred had hoped to sell his luminous light boxes to consumers as a replacement for the television, but as he gained traction with artists, he gradually shifted his focus to museum and galleries. In 1963, the Museum of Modern Art, New York, commissioned his most ambitious public installation, Lumia Suite, Opus 158, which remained on view at the museum until 1980. In 1971, Wilfred had a retrospective at the Corcoran Gallery of Art in Washington, D.C.
Wilfred’s lumia are beautiful and slow, albeit an awkward replacement for the television. It was difficult for me to consider passively enjoying a Clavilux projection in the same way I consume an episode of “Game of Thrones.” Watching the lumia, I felt my sense of observation was heightened, whereas my senses seem more often dulled by TV.
The cascading colors projected inside his machines made me recall artists such as J.M.W. Turner (1775–1851). In particular, the atmospheric and ephemeral cloudscapes later admired by the Impressionists, especially Claude Monet, recall the slow-moving colors in the lumia. Using washes of watercolor and oil paint, Turner’s layered works achieved the shimmering sensation of light, while Wilfred’s works used light itself in lieu of paint as the primary visual element in his compositions. The lumia works evoke sublime phenomena such as the aurora borealis or gaseous plumes in outer space.
In fact, Wilfred’s innovations preceded works by other light artists. For example, László Moholy-Nagy (1895–1946) made his seminal work, Light-Space Modulator—a light-based sculpture powered by electricity—in 1930. Moholy-Nagy, a Hungarian artist and Bauhaus professor, advocated for the integration of art, industry, and technology. He recognized the innovation of Wilfred’s works, and the lumia were also admired by many other artists of his time, including the Abstract Expressionist, Jackson Pollock (1912–1956). In the foreword of the exhibition catalog, the contemporary artist James Turrell (b. 1943) recounts his childhood encounter with Wilfred’s works at MoMA.
Despite the respect Wilfred earned among artists of his day, his radical oeuvre of light art has not been shown in the last four decades. Lumia Suite, Opus 158 was restored for the occasion of the exhibition, and it concludes the show in a special viewing room, matching the specifications of Wilfred’s original plans. The show reaffirms Wilfred’s role as a visionary artist of both light and color.
Lumia: Thomas Wilfred and the Art of Light closed on July 23, 2017 at the Yale University Art Gallery. The exhibition will travel to Washington D.C.’s Smithsonian American Art Museum in October.
For the past few weeks, I have been reading about different kinds of knots and making a series of gouache paintings on paper loosely tied to different types of knots.
In a 2014 article in T Magazine, Jody Rosen discusses the importance of knots throughout history. Still nots are an undervalued craft today, often relegated to the storage rooms of major collections. More here.
Knots have been on my mind for a long time, and they've surfaced in various forms in prior drawings and paintings. Since ancient times, knots were an essential form of technology for seafarers, among others. Moreover, knots have served deeply symbolic purposes; they were used to keep records for the Incas, celebrate a birth or marriage in numerous cultures, and summon strong winds for the Laplanders, for example. They are practical, yet deeply mystical at the same time.
The third completed spread of sketchbook pages from Mazmanian Gallery featuring the hands of (11) Teres Audette, (12) Tara Capelluno, (13) Rose Piz, (14) Isaac Vu, (15) Cam Graves, and (16) Tyler Johnson #FSUsketchbookproject
I've been catching up on some reading this summer. I hope to teach a course in the fall on Modern and contemporary art so I've been reading through Volume II of History of Modern Art (seventh edition) by H.H. Arnason and Elizabeth C. Mansfield. Last night I was fascinated with the Surrealist Jean Arp's thoughts about tearing up his own works to make new collages. His ideas are eerily timely.
In today's Monadnock Ledger-Transcript you can read more about my current show at the Sharon Arts Center in Peterborough, New Hampshire.
"Making her Point" by Ben Conant
Everything old is new again, and nothing is permanent. Artist Jacquelyn Gleisner’s new exhibit at the Sharon Arts Gallery in Peterborough makes important statements about the fleeting nature of art and the importance of not letting things go to waste. Plus, it gets student artwork into a fine art gallery — in a manner of speaking, anyway.
Read more at the link below.
The Folds of the Cloak
The Folds of the Cloak, the title of my current installation at the Sharon Arts Center, references the last line of the poem “Of the Surface of Things” by Wallace Stevens. I read this poem aloud to my students on the first day of classes last fall, and throughout the year I collected their discarded drawings and paintings to re-use. Viewers can see glimpses of color wheels and other exercises repurposed into pyramid forms.
The title also alludes to paper and textiles, two important materials for my practice as an artist. Paper, an ecological and malleable form, represents flexibility and durability. Textiles are another important source for me, and I regularly reference patterns as well as the cultural importance of fabric, embroidery, and other handicrafts. All the paper and cardboard used in this installation are found or recycled from my previous works or former students, creating a textural map of color, patterns, and time.
Sharon Arts Center Gallery | NHIA
30 Grove Street, Peterborough, NH 03458
Reception August 18, 5 - 8pm
Through September 2017
Hours: Wednesday-Saturday 11am - 6pm; Sunday 11am - 4pm
Join me this Friday for the Monster Drawing Rally!
Over the course of the night, artists at all stages of their careers take shifts to draw for an hour in front a live audience, bringing their private studio practices to the public. As spectators spy on the creative process, sketches morph into full-fledged artworks. Artists will then donate works to be bought the night of the event for $50 each, all proceeds will go to support programming at the Ely Center of Contemporary Art and Artspace New Haven. We will also be having a bourbon tasting from Litchfield Distillery with Connecticut-made varieties including: Straight Bourbon, Double Barrel Bourbon, Vanilla Bourbon and Coffee Bourbon (donation $6 for a half flight or $12 for a full flight suggested). Food will be available for purchase by Farm Belly. Throughout the night Dave Coon will DJ tunes to set the mood. All art lovers, supporters, and enthusiast are welcomed to this free event.
Sarah Afrogola, Michael Angelis, Caryn Azoff, Cat Balco, Binwanka, Alexis Brown, Anna Tu Bu Lei, Leslie Carmin, Jessica Cuni, Johannes DeYoung, Dionamic, Mary Dwyer, Michael Edmundson, Danielle Eugene, Roxanne Faber Savage, Zeph Farmby, Joan Fitzsimmons, Julie Frankel, Laura Gardner, Jacquelyn Gleisner, Stephen Grossman, Larissa Hall, Clymenza Hawkins, Lisa Hesselgrave, Iyaba Ibo Mandingo, Peter Konsterlie, David Livingston, Cayla Lockwood, Eric March, Marry Ann McCarthy, Alexis Musinski, Jason Noushin, John O’Donnell, Leila Orienter, Joesph Padilla, Rashmi, Chen Reichert, Samuel Rowlett, Jaime Ursic, Michael Van Winkle, Amanda Walker, Christa Whitten, Jemma Williams Nussbaum, Amie Ziner
Friday, Jun 23, 2017 from 7:00 PM to 9:30 PM
Location: Ely House Center for Contemporary Art, 51 Trumbull Street, New Haven, CT
Come by 30 Grove Street in downtown Peterborough to see my installation in the front window of the Sharon Arts Center. All these forms were made using discarded paintings and drawings from former students and old works of mine on recycled cardboard. Join me for the reception on August 18th! More pictures soon...
Also be sure to check it out at night!
As part of my show Ouroboros at the Mazmanian Gallery, I left a blank sketchbook in the gallery and asked visitors to trace their hands on the empty pages. Here are the first six spreads of the book with hands by: (-1) Inessa J. Burnell, (1) Eric Davis, (2) Alexandria Keare, (3) Trinity Infantino, (4) Hannah Ferrante, (5) Julia Wan, (6) Heather Welsh, (7) Susan Scopetski, (8) Sadie Harmon, (9) Carissa Valeri, and (10) Roy S. "Suh Dude"
The 23rd Leonardo Challenge
The theme for the The Eli Whitney Museum's annual fundraiser is "Leonardo in Bloom." Artists are challenged to create a work of art inspired by the fullest expression of a flower, the bloom, and the quintessential "Renaissance man," Leonardo da Vinci.
Leonardo da Vinci
In his notebooks and sketchbooks, the Italian artist and scientist, Leonardo da Vinci (1452-1519), explored botany, geology, geography, cartography, zoology, engineering, anatomy, as well as countless other topics. He adamantly believed that his scientific investigations helped him become a better artist. Indeed many of his scientific illustrations are appreciated as works of art. The artist also believed that reality was fathomable only through what could be observed through the eyes—the most vital organ according to Leonardo.
Below are a few images of my submission for the event, a freestanding sculpture made from paper, glue, turf, glitter, and sand. The shape of the sculpture recalls both an explosion and a geometric interpretation of a dandelion flower. The title, Lion's Tooth, comes from the French name for this common weed, dent de lion.
Click on the image above to see detail shots.