Archive for the ‘mixed media’ Category

Myrna Balk: 50 Year Retrospective at Piano Craft Gallery

Wednesday, April 19th, 2017

Mixed media artist Myrna Balk is exhibiting at Boston’s Piano Craft Gallery (5/5-5/28, opening reception 5/7, 3-6 PM, artist discussion 5/21, 3 PM) in Connecting the Dots, encompassing 50 years of her artistic output.

Here, she discusses the exhibition, how a life of social work affected her art, and highlights and surprises from 50 years of working in clay, steel, wood, etching, and more.

Sculptural work by Myrna Balk

You work in a range of materials and processes. What makes you select one material over another in the creation of a new work?
When I choose a new subject, I instinctively decide on the material I think will work best. There is not much inner conversation. It just feels right. I usually focus on one technique at a time. Other times I feel like working in a specific material, and it is only after it is finished that I know if there is a meaning or not.

How has your career as a social worker impacted your art?
It exposed me to many intense social situations, and these experiences inspired the subject of some of my art. For example, in 1998 I was invited to Kathmandu, Nepal to consult on domestic violence and teach at a school of social work. Once there, I was introduced to the victims of sex trafficking. Because of my experience in working with groups, I was comfortable in meeting with women and girls in seven shelters. I gave them the opportunity to have fun and to draw. I did not expect them to want to tell me their stories and to take their experiences home with me. Thus I was exposed to situations that most people do not encounter, firsthand. This led to my doing my own large body of etchings about trafficking. Eight of them were shown at the United Nations in New York City.

Etching by Myrna Balk

How do you know when your work is done?
When I went from welding to etching it was hard for me to know when something was done. This was because I was not secure with the new material. As I became more confident I let the piece speak for itself and knew when it was finished.

Your exhibition at the Piano Craft Gallery is a 50 year retrospective. Any highlights (or lowlights) that stand out from those decades?
At one point, when I was welding, I had 7 unfinished pieces of sculpture. I was stuck on one so started another. When the number got to 7, I was in despair. I just sat in a rocking chair and read in my studio waiting for the ideas to start coming again. Then one day I looked up and there was the piece of steel that would fix one of the unfinished pieces. After that all of the work was finished within a few hours.

Steel sculpture by Myrna Balk

What artist do you most admire but work nothing like?
Ben Shahn is at the top of my list of admired artists. Others, in no special order, are Käthe Kollwitz, Anthony Caro, Alice Neel, and Anselm Kiefer.

What’s the most surprising response to your art you’ve ever received?
The most wonderful surprise that I had was Anthony Caro inviting Clement Greenberg to meet me. Greenberg then came to my home to see my work. He was extremely complimentary and encouraged me to continue sculpting.

What do you listen to while you create?
I usually focus on my inner voice. Sometimes I listen to Amy Goodman from the radio program DEMOCRACY NOW. She keeps me up on a lot of the political issues.

What are you currently reading?
Out Stealing Horses by Per Peterson, The Underground Railroad by Colson Whitehead.

How many revisions does your work typically go through?
I do not work and rework my pieces. I work fast and usually am satisfied with the first results. In the case of outdoor installations, the work is meant to be adjusted when it is in a tree or on the ground or in the water.

Sculptural work by Myrna Balk

Sculpture by Myrna Balk


Myrna Balk: Connecting the Dots
Piano Craft Gallery
May 5-May 28, 2017
Opening reception: May 7, 2017, 3-6 PM
Artist Discussion: May 21, 2017, 3 PM

Images: all images courtesy of the artist.

Studio Views: Janice Jakielski

Monday, April 10th, 2017

Mixed media artist Janice Jakielski makes objects that are sometimes wearable, often interwoven with nature, and always fascinating in their exploration of ideas and materials.

Here, she shares the interplay between her work spaces and her exploratory creative process.

Janice Jakielski, AUSPICIUM (2013), silk, window screen, mixed, 10x8x8 in

Ten different studio spaces over eight years spanning two countries and seven states – this was my reality until three years ago, when a job transfer to Massachusetts brought my peripatetic lifestyle to an end. My husband and I fell in love with a mid-century modern fixer upper in Sutton, MA. A concrete and glass cube, nestled in a forest with plenty of square footage for studio space.

Janice Jakielski's studio space

I am a homebody by nature and love having a combined living and studio space. There are just enough delightful distractions to break up the day, from wrestling with the dogs, peeking into the beehives to searching for the elusive spring orchids out in the woods.

As a mixed media artist, my work spaces are divided by process. I cycle through these spaces as I cycle through my work.

Janice Jakielski's "laboratory" space

Everything starts in the ceramic laboratory where my Ceramic Engineer husband and I create and invent new materials. Here we keep our ceramic processing equipment: tape caster, roller mill, vacuum pump, kilns, etc. By mixing my own ceramic materials I have complete control over my process, and I love having the ability to step into the lab to replenish my stock or mix a new color of porcelain paper.

Detail image of Janice Jakielski's studio space

Janice Jakielski, SLOTTED TEA CUP (detail)

 

My “clean” studio is upstairs. Here is where I do my assembling, cutting, sewing, etc., the bulk of my time is spent in this space. Then back down to the lab for firing and finally to our small but adequate woodshop for shelf, armature or crate building.

When starting a new body of work my spaces are organized, clean: a blank slate. As I actualize my pieces I leave a trail of chaos, evidence of frenzied making. I love letting the chaos build until every surface is covered and I can’t stand it any longer. Cleaning the studio after finishing an install feels like part of the ritual of making. It gives me time to reflect upon the finished pieces, mentally deconstruct my steps and begin a process of self-critique. This reflection sets the stage for my next round of making.

Detail image of Janice Jakielski's "laboratory" space

Detail image of Janice Jakielski's tape casted porcelain work

I have recently returned to my love of ceramic chemistry and have begun collaborating with my husband to re-invent industrial ceramic materials for application in the artist studio. My latest exploration of deconstructed and quilled porcelain vessels are created using strips of extremely thin, tape casted porcelain. Tape casting is a casting process used to make ceramic sheets traditionally used in the micro-electronics industry, solid oxide fuel cells and piezoelectric devices. I am in love with the challenge of adapting these industrial processes and am blown away by the potential that these new materials bring to my studio.

Detail image of Janice Jakielski's tape casted porcelain work

Janice Jakielski, QUILLED BEE FRAME

 

In-progress tape-casted porcelain vase by Janice Jakielski

Janice Jakielski, JARDINER (2016), porcelain, 15x9x9 in

 

Janice Jakielski‘s work will be featured in the soon-to-be-released book Cast: Art and Objects Made Using Humanity’s Most Transformational Process. She has solo exhibition upcoming at the Foster Gallery in Dedham (Fall of 2017) and Gallery 5 at Emmanuel College (Winter 2018).

Images: all images courtesy of the artist.

Fellows Notes – Apr 17

Tuesday, April 4th, 2017

In April, a shower of news from past and present MCC Artist Fellowship awardees.

 

Natalie Alper, Anne Neely, Jo Ann Rothschild, and Maxine Yalovitz-Blankenship are part of the group exhibition Expanding Abstraction: New England Women Painters from 1950 to Now at the deCordova Museum (4/7-9/17).

MCC Artist Fellowship Program awardees Colleen Coyne, Cynthia Gunadi, Thomas McNeely, and Rosalind Pace read at Porter Square Books (4/21, 7 PM).

**

Amy Archambault created the installation Hideout at Boston Children’s Museum (thru 6/18). Read about the installation in The Boston Globe.

Steven Bogart directs Peerless for Company One Theatre (C1), performed at the Boston Public Library (4/27-5-28, 7 PM). All tickets are pay-what-you-can in this production, produced in conjunction with the Library’s “All the City’s a Stage: A Season of Shakespeare.”

Meryl Cohn‘s play The Final Say is part of the Smith College New Playreading Series (4/6, 7:30 PM).

Nicole Duennebier‘s paintings are featured in Hi-Fructose, a contemporary art magazine.

Beth Galston has a solo exhibition, Luminous Garden, at the Mattatuck Museum, Waterbury, CT (thru 7/17).

Christy Georg will give a slide lecture at Santa Fe Clay (4/14, 1 PM) about her project Great Guns, one of the most ambitious projects attempted in the 43-year history of the Kohler Arts/Industry Residency Program. Read about the project in ArtSake.

James Heflin‘s debut poetry collection Krakatoa Picnic will be published by Hedgerow Books (5/1).

Robert Knox‘s novel Suosso’s Lane, based on the Plymouth, Mass. origins of the infamous Sacco-Vanzetti case, was published by Web-e-Books as an ebook in late 2015. The paperback edition was published in April 2016. Robert discusses the novel at the Ventress Memorial Library in Marshfield (4/13, 7 PM). His first poetry collection, Gardeners Do It With Their Hands Dirty, is scheduled for publication later this month by Finishing Line Press. He reads from the collection at Plymouth Public Library (4/24, 7 PM). Currently, he is a contributing editor to the online poetry journal Verse-Virtual.com, and he currently has poetry published in the March edition.

Niho Kozuru‘s sculpture Longfellow Column has been acquired for the permanent collection of the Fuller Craft Museum. The mold for Longfellow Column comes from a balustrade at the Cambridge home of poet Henry Wadsworth Longfellow.

Danielle Legros Georges reads at the Rozzie Reads Poetry/Open Mic at Roslindale House (4/27, 7 PM).

Yary Livan, master ceramist and National Endowment for the Arts Heritage Fellow, returns to the Loading Dock Gallery in April with One Man’s Journey: Restoring a Lost Tradition(3/29- 4/30).

Stephanie Lubkowski‘s solo viola piece Avanc will be performed in the Equilibrium Concert Series as part of their commissioning project concert at the New School of Music in Cambridge (4/15, 8 PM).

Rania Matar‘s work will be part of The Photography Show at AIPAD with Pictura Gallery in NYC, and of the exhibition Action at a Distance at Angela Meleca Gallery, in Columbus, OH. She has an artist talk at Gund Gallery at Kenyon College (4/4, 4 PM), coinciding with her current Mellon artist-in-residency and with the exhibition Aftermath: The Fallout of War — America and the Middle East.

Nathalie Miebach is exhibiting in State of the Art, Discovering American Art Now at the Mint Museum in Charlotte NC (4/22-9/3). She is also giving artist talks at Crystal Bridges Museum, part of a symposium called “Art in Conversation: Environment, Identity and Memory” (4/7-4/8), and at Broward College in Fort Lauderdale, FL as part of their “Future Environments” lecture series (4/19).

James Morrow and his company james morrow/The Movement present a free House Dance Jam at the Boston Center for the Arts Calderwood Pavilion 4/8, 6 PM).

Congratulations to Ethan Murrow, who won the 2017 Brooke and Hap Stein Emerging Arts Prize from the Museum of Contemporary Art Jacksonville. This month, his solo show The Cowboy will exhibit at Winston Wachter Gallery in Seattle (4/18-6/20, reception 4/18 6-8 PM).

Abraham Ravett‘s film Holding Hands with Ilse will screen in the Massachusetts Multicultural International Film Festival at UMASS Amherst (4/19, 7:30 PM).

Monica Raymond wrote the texts for two songs, Snow Queen and The Garden in the Snow (composed by Charles Turner) to premiere at an all-day arts festival at Arts at the Armory (4/14).

Susan Rivo‘s documentary Left on Pearl has its official premiere at the Boston International Film Festival in the Paramount Center’s Bright Family Room (4/14, 5:30 PM).

Dawn Southworth has a solo exhibition of paintings and sculpture, Premonition, at Clark Gallery (4/4-5/9, reception 4/8, 4-7 PM).

Peter Snoad‘s documentary play, The Draft, about personal experiences with the Vietnam War draft, is now available on DVD and streaming through the Media Education Foundation. The play was filmed in performance during its premiere at Hibernian Hall in Roxbury where Peter was Visiting Playwright from 2013-15. Peter returns to Hibernian Hall when his short play Apple Pie is performed by Roxbury Repertory Theatre as part of its “Six Playwrights in Search of a Stage” festival (4/15-4/16).

Laurel Sparks is among the artists exhibiting in Witches at September Gallery in Hudson, NY (thru 5/7). Laurel will participate in an event, Witches Performance Night, on 4/22, 6–8 PM.

Joyce Van Dyke has a staged reading of her new play The Women Who Mapped the Stars at Central Square Theater (4/17, 8 PM). There will be a workshop production at the same theatre in May/June. Her play Daybreak will have a staged reading (4/21, 7:30 PM) at Pan Asian Repertory Theater in New York. Her new play Ballad for Americans will have a staged reading at Northeastern University (5/1).

Read past Fellows Notes. If you’re a past fellow/finalist with news, let us know.

Image: trailer for LEFT ON PEARL by Susan Rivo, premiering this month at the Boston International Film Festival.

How Do You Approach Art-making During Times of Emotional Distress?

Tuesday, December 6th, 2016

Recently, WBUR had a story about how events out of our control – such as the recent election – create stress and internal turmoil that can disrupt all aspects of our lives.

For artists creating (or trying to create) new work, this can mean a serious disruption of their art-making process. We asked artists, How do you approach art-making during times of emotional distress?

Jodie Mim Goodnough, NORTHAMPTON STATE HOSPITAL (2015) from the PROSPECT project, Three Inkjet Prints on Cotton Lawn, 36x78 in

Jodie Mim Goodnough, multidisciplinary artist
My work for years has been about emotional distress, both mild and pathological, and the coping mechanisms we use to self-soothe, so you’d think I’d have all the tools I need. Based on the research for my recent work, what I should be doing is going for long walks in the woods and taking deep breaths of forest air. What I’m actually doing, however, is sitting on the couch reading about how much better I would feel if I went for a walk in the woods.

But if I’ve learned one thing, it’s that you can’t beat yourself up for slowing down occasionally – it only compounds the misery. When I don’t have it in me to hit the studio I do small things in the direction of productivity. I research and I plan for future projects. And I look for non-art tasks that feel productive as well, like studying Spanish. I’m currently living in Providence, which has a large Latino population. I feel like I need to find ways to better connect with people in my community right now, and learning another language, even at a basic level, will help me do that.

Jessica Reik, writer
There are always emotions. Some of them are more uncomfortable for me to be with than others. Some, like elation, feel really good but interfere with my ability to write – elation wants the external and so I’m out doing, not home writing! Fear, sadness, insecurity, they pose different challenges. Seeming bottomless (they never are), they threaten to take over the executive self and with it, all those evolved capacities of the human brain – like perspective – I rely on to write.

I like to sit with a difficult emotion and feel where it’s lodged in my body, then find out what’s underneath. Take fear (often in my lower abdomen). Fundamentally, it’s a lack of basic safety, so I look for that safety in tangible ways and identify what is trustworthy and supportive — my bones, my breath, the chair I’m sitting in. Simple stuff. I like to give structure for the emotion, a house I’ve built for it to roam around in, because the emotion itself isn’t the problem, it’s my reaction to it.

Always, in the end, I find myself in the same place at the end of this process — back to the work. My writing comes out of those very same vulnerable places where sadness takes root — where all emotions do — and yet is also one of the sources of stability that gets me through.

Michael Joseph, photographer
In times of emotional stress, not only making art, but also viewing art can provide a much-needed emotional release. Often my most productive periods are when I feel a need to disconnect with my own internal stressors and reconnect with life that is happening around me. Grabbing my camera and going for a walk breaks up a physically sedentary day but also an emotionally clouded one.

Street photography is unique in that it allows the artist to be present with the world in a way that working in a studio cannot. It shifts our role from being a participant to being an observer. Working on the street has a unique duality: the sometimes frustrating challenge of dealing with the unforeseen but also the excitement and reward of capturing the serendipitous. Events out of our control and uncertainty therefore become positives. By paying close attention to unpredictable actions and emotions of others in fluid environments, we are forced to focus less on our own internal thoughts to capture external narratives in real time.

I always saw the camera as a powerful tool of connection. Making street portraits of strangers whose personalities and places in the world are different from my own, forces me to engage with others and learn from them. It presents the challenge of making their unique, internal story come to the surface through a portrait. There is no time for subjects to look in the mirror, change clothes, fix hair or put on make-up, and I can’t ask the sun to change or the clouds to move… I am forced to make art from what is before me. And in that reality, I make my most powerful work.

Michael Joseph, SOPHIE (2013), archival pigment print, 16x16 in

 

Jodie Mim Goodnough is a Providence, Rhode Island-based artist whose work revolves around the use of images in psychology and psychiatry, and includes photography, sculpture, performance, video and sound. Recently, she received a 2017 Rhode Island State Council on the Arts Fellowship in Photography and was named a 2017 Traveling Fellow by the School of the Museum of Fine Arts and Tufts University. Her work will exhibit in Building a Lineage at Piano Craft Gallery in Boston, January 2017.

Michael Joseph is a street and street portrait photographer. His “Lost and Found” series, which has been featured on CNN, will be included in the December 8 slide presentation night (Dec 8, 6:30 PM) to complement IDENTITY: The List Portraits at The Annenberg Space for Photography in Los Angeles. Recently honored in PhotoLucida’s Critical Mass 2016 Top 50 list, he’ll have work in the accompanying exhibition (Apr 7-May 2 at the Artwork Network Gallery Space in Denver). He has an article coming out in the December issue of the Czech Republic magazine CILICHILI. Find him on Instagram and Facebook.

Writer Jessica Reik was awarded a fellowship position in Grub Street’s Memoir Incubator Program, where she worked on the memoir The Fathom-Long Body. Recently, she received a fellowship to attend a Ucross Foundation residency and was named a finalist in StoryQuarterly Non Fiction Prize. On Tuesday, January 17, 2017, at 7 PM, she’ll read her work in an event featuring MCC literary awardees.

Images: Jodie Mim Goodnough, NORTHAMPTON STATE HOSPITAL (2015) from the PROSPECT project, three Inkjet Prints on cotton lawn, 36×78 in; Michael Joseph, SOPHIE (2013), archival pigment print, 16×16 in.

Fellows Notes – Sep 16

Thursday, September 8th, 2016

Back to school, kiddos! Here’s the latest news from our esteemed alumni – the past awardees of our Artist Fellowships Program.

Ethan Murrow, RIPARIAN LAW (2016), graphite on paper, 36x36in

The Massachusetts Cultural Council (MCC) and the New Art Center in Newton (NAC) join together to present the MCC Artist Fellows in Painting, Choreography, Drawing & Printmaking, and Traditional Arts (9/16-10/15, opening reception 9/16, 6-8 PM). The exhibition will feature: in Painting – Dennis Congdon, Nicole Duennebier, Raúl Gonzalez, Joel Janowitz, Catherine Kehoe, Andrew Gordon Moore, and Cristi Rinklin; in Drawing & Printmaking – Kim Carlino, Erica Daborn, Linda Etcoff, Kevin Frances, Emily Lombardo, Stephen Mishol, and Ethan Murrow; in Choreography – Dahlia Nayar, Candice Salyers, and Sara L Smith; and in Traditional Arts – Dimitrios Klitsas.

MCC Choreography Fellow Candice Salyers will perform and literary awardees Jane Dykema, Michael Lowenthal, Shubha Sunder, Sheryl White, and Kris Willcox will read at the New Art Center (9/30, 6:30 dance performance, 7 PM reading). Look for more readings by MCC literary Fellows/Finalists in the months ahead.

**

Elizabeth Alexander has a solo show, I May Not Be a Lion exhibiting at Elon University in North Carolina (thru 10/6). Watch her artist talk about the show. Also, she is in the group exhibition For the Saturday Evening Girls at Drive-By Projects (9/17-10/29, opening reception 9/17, 4-6 PM).

Marilyn Arsem performs as part of the Arctic Action: International Action Art Festival in Svalbard, Norway (9/19-9/28).

Sarah Bliss co-created a site-specific 16mm film sculpture-installation, pump, filter, reflect, with Chrissy Hunt and Anto Astudillo, and it will be featured in Temporal Currents, a one-night-only live experimental film and sound event at Boston;s Metropolitan Waterworks Museum, featuring filmmakers from the AgX Film Collective and musicians from NonEvent.

John Cameron is in two exhibitions this month: Furniture Masters 2016: Distinctive at 3S ArtSpace in Portsmouth, NH (thru 9/25, Main Event on 9/25). Also, a showcase of work by recent exhibitors at the Smithsonian Craft Show, called D.C. Current, exhibits at the Center for Furniture Craftsmanship in Rockport, Maine (9/23-1/4, opening reception 9/23, 5-7 PM).

Stephen DiRado has been selected to receive the 35th ArtsWorcester Award (9/9, 6 PM), given annually to an individual who has made exceptional contributions to the artistic and cultural life of this city.

William Giraldi publishes a new memoir this month, The Hero’s Body. He’ll read from the book at Harvard Book Store (9/10, 7 PM).

Kelly Goff‘s installation Dumpster was featured in an article in the arts journal Hyperallergic about the 2016 Governor’s Island Art Fair.

Sean Greene is exhibiting in a two-person show (with Jen Simms) at Mingo Gallery in Beverly (thru 10/8, opening reception 9/9, 6 PM). He’s also in a group show at Mount Holyoke College Blanchard Gallery (thru 9/15, opening reception 9/8, 5:30 PM).

Colleen Kiely has drawings in About Face at UMass Amherst’s Augusta Savage Gallery (9/12-9/28).

Jesse Kreitzer‘s film Black Canaries was awarded the Vermont Symphony Orchestera’s VSO Award for Best Integration of Music into Film at the Middlebury Filmmakers Festival. The film also received Grand Jury Awards for “Best Short Film” and “Best Cinematography” at the 12th Annual HollyShorts Film Festival in Hollywood, California.

Danielle Legros Georges takes part in Living in Many Languages: Poetry And Music to Celebrate the Act of Translation at Dewey Square Parks (9/2, 2 PM). She’ll also read as part of the ICA Boston’s Powerful Words, an evening of readings, reflections, and community in response to violence, racial injustice, and trauma (9/8, 6 PM).

Sandy Litchfield has a solo show, Deciduious City, at Carroll and Sons Gallery (9/7-10/1, opening reception 9/9, 5:30 PM).

Tara Masih is the Series Editor for the annual Best Small Fictions series, which just published the 2016 edition.

Rania Matar exhibits her new photography series Invisible Children, capturing the portraits of young Syrian and Palestinian refugees in Lebanon, at C. Grimaldis Gallery in Baltimore (9/15-10/22, opening reception 9/15, 6-8 PM).

Caitlin McCarthy has essays in two upcoming nonfiction anthologies from McFarland & Company: She Loves You: Women Writers Tell How a Teen Idol Changed Their Life and Soap Opera Confidential: Writers and Soap Insiders on Why We’ll Tune in Tomorrow. Also, her script Wonder Drughighlighted in an article in Collective Evolution.

Richard Michelson is publishing a new children’s book, Fascinating: the Life of Leonard Nimoy. There will be a Publication Party and Book Signing (9/9, 6-8 PM) in conjunction with the opening of UNSEEN: Fifty Never Before Exhibited Photographs, in honor of the 50th Anniversary of Star Trek, at R. Michelson Galleries.

Nathalie Miebach is in a group show, Encircling the World: Contemporary Art, Science, and the Sublime at the Massachusetts College of Art and Design Bakalar Gallery (9/19-12/3, opening reception 9/19, 6-8 PM).

Ethan Murrow has a solo show of drawings, Water Almanac, at Winston Wächter Fine Art in NY (9/8-10/29, opening reception 9/8, 6-8 PM). The artist utilized portions of his MCC grant to support the creation of art for the show, which features drawings based on the Farmers Almanac.

Lisa Olivieri screens her film Blindsided at the Firehouse Center for the Arts in Newburyport (9/18, 12 PM). Q&A with the director to follow screening.

Monica Rayond‘s play A to Z was a finalist for both the Jane Chambers Award and ATHE Award for Excellence in Playwriting. Paper of Plastic, a short opera for which she wrote the libretto (music, Charles Turner), won second prize in Opera Kansas’s short opera competition.

Marian Roth has a solo exhibition, Marian Roth: The Mysterious World of the Camera Obscura, at the Griffin Museum of Photography (9/8-10/2, talk and reception 9/15, 5-8 PM).

Eric Henry Sanders will have a reading of his new play Where’s Annie? at the A.P.E. Gallery in Northampton (9/17, 7:30 PM).

Congratulations to Karen Skolfield, named a runner-up in the The Iowa Review’s Jeff Sharlet Memorial Award for Veterans writing contest. Five of her poems will be published in the Spring 2017 issue of Iowa Review. This month, she’s participating in events surrounding the Amherst Poetry Festival and Emily Dickinson Poetry Marathon 2016 (9/15-9/17).

Peter Snoad‘s short play Bull will be produced by The Landing Theatre in Houston as part of its Redemption series (9/21-10/3). The play is about the love/hate relationship of two New York City cops with Arturo DiModica’s iconic statue of the Charging Bull which they’re guarding during the Occupy Wall Street protests.

Naoe Suzuki, currently artist-in-residence at the Broad Institute, will have a public dialogue with Broad Institute founding core member Tod Golub called Collaborating at the Intersection of Art and Science (9/27, 3-4 PM).

Scott Wheeler composed the music for Naga, one of the three operas performed as part of the Ouroboros Trilogy at ArtsEmerson (9/10-9/17).

Read past Fellows Notes. If you’re a past fellow/finalist with news, let us know.

Image: Ethan Murrow (Drawing & Printmaking Fellow ’16), RIPARIAN LAW (2016), graphite on paper, 36x36in.

Fellows Notes – Aug 16

Tuesday, August 2nd, 2016

August, that most distinguished of late summer months, arrives with a new array of news from current and past MCC Artist Fellows & Finalists.

Nicole Duennebier (Painting Fellow '16) and Caitlin Duennebier, CONGREGATION ON THE BRIGHTEST NIGHT (2016), acrylic on laminate panel, 48x60 in

Congratulations to Sonia Almeida and Lucien Castaing-Taylor, both of whom are among the 2017 James and Audrey Foster Prize artists!

Amy Archambault and Leslie Schomp are in the Regional Exhibition of Art and Craft at Fitchburg Art Museum (thru 9/4).

**

Steven Barkhimer has launched an IndieGoGo campaign to support a new project, the adaptation and staging of a classical Indian play.

Linda Bond is one of the artists exhibiting in Up in Arms: Taking Stock of Guns at Brattleboro Museum (thru 10/23).

Alice Bouvrie is screening her film A Chance to Dress at The Space in Jamaica Plain (8/20, 8 PM).

Timothy Coleman has work in an exhibition at Castle in the Clouds in New Hampshire (8/21, 5:30 PM), with New Hampshire Furniture Masters.

Rebecca Doughty has a show of new work, entitled More Pictures, at the Schoolhouse Gallery in Provincetown (8/26-9/14, opening reception 8/26, 6-9 PM).

Nicole Duennebier has a collaborative exhibition with Caitlin Duennebier, Fragment of Sister Head, at Lens Gallery in Boston (opening reception 8/5, 6-8:30 PM).

Samantha Fields is exhibiting in SEVEN: A Performative Drawing Project (Reunion) at Montserrat College of Art (thru 9/10), and is among the artists in Contexture at Jane Lombard Gallery in NYC (thru 8/31).

Basia Goszczynska has a solo exhibition, Rainbow Credits, on view at the Mid-Manhattan Library (thru 8/1).

Michael Hoerman is on the map! Created by poet C.D. Wright in 1994, A Readers’ Map of Arkansas honors writers who contribute to the rich culture of Arkansas literature, whom Arkansas has nurtured.

Zehra Khan is among the artists in AMP: Art Market Provincetown (thru 8/11).

Scott Listfield has a solo show at Lancaster Museum of Art as part of the Made in America series (8/13-10/30).

Rachel Mello is one of the artists exhibiting in TEN Kingston Associates: Our Voices at Kingston Gallery (8/3-8/28, opening reception 8/5, 5:30-8 PM).

Lisa Olivieri‘s film Blindsided got a great review in afterellen.com.

Cecelia Raker‘s play La Llorona was a runner-up for the Princess Grace Award.

Daniel Ranalli will lead a conversation on the work of Liz Deschenes at ICA Boston (8/31, 2 PM). The discussion is free with museum admission.

Monica Rayond‘s play A to Z was a finalist for both the Jane Chambers Award and ATHE Award for Excellence in Playwriting. Paper of Plastic, a short opera for which she wrote the libretto (music, Charles Turner), won second prize in Opera Kansas’s short opera competition.

Jendi Reiter‘s debut novel Two Natures will be published in September by Saddle Road Press of Hilo, HI, and is currently available for pre-order on Amazon. Broadside Bookshop in Northampton, MA is hosting her local book launch (10/19, 7 PM).

Read past Fellows Notes. If you’re a past fellow/finalist with news, let us know.

Image: Caitlin Duennebier and Nicole Duennebier (Painting Fellow ’16), CONGREGATION ON THE BRIGHTEST NIGHT (2016), acrylic on laminate panel, 48×60 in.

Fellows Notes – Jun 16

Wednesday, June 1st, 2016

Summery news from current and past MCC Artist Fellows/Finalists.

Nathalie Miebach, BLUEBERRIES (2016), Wood, rope, paper, reed, 10x6x9 in

Congratulations to Ilisa Barbash, Jane Gillooly, Lucien Castaing-Taylor, and Lucia Small, all of whom will receive funding from the LEF Foundation as part of their Spring 2016 Moving Image Fund awards.

Carrie Bennett and Frannie Lindsay join Jennifer Barber for a poetry reading at Porter Square Books on 6/8, 7 PM and another at Newtonville Books on 6/16, 7PM.

Five new works created by teams of women artists – which include four past MCC awardees – will be presented as the latest Art on the Marquee by Boston Cyberarts. Ambreen Butt, Mags Harries, Nathalie Miebach, and Deb Todd Wheeler are all creating work for the 80-foot-tall multi-screen LED marquee outside the Boston Convention & Exhibition Center (opening reception 6/1, 6:30-8:30 PM).

**

Elizabeth Alexander will have a solo exhibition, Spring Will Be a Little Late This Year at Boston Sculptors Gallery (6/8-7/17, artists reception 6/11, 2-5 PM).

Sandra Allen is among the artists in exhibiting in TreeMuse at the Suffolk University Art Gallery (6/9-7-7, reception 6/9, 5-7 PM).

Claire Beckett‘s solo exhibition Converts at Carroll & Sons Gallery received a great review in the Boston Globe. Her work was also featured on Slate.com.

Congratulations to Sari Boren, who was awarded a 2016 Emerging Artist Grant from the St. Botolph Club Foundation. Recently, her essay Failure to Ignite; A Body at Rest was published in the literary journal Hobart.

Christy Georg is artist-in-residence in the Kohler Arts/Industry Program thru July 2016.

Michael Hoerman recently published three poems in the Spring 2016 issue of Eureka Literary Magazine. This summer, he attends the inaugural Sedona Arts Center residency in Sedona, AZ.

Danielle Legros Georges received the honorary degree of Doctor of Humane Letters from Emerson College in May.

Holly Lynton has a solo exhibition of her series Bare Handed in the Filter Photo Festival in Chicago, IL (6/3-6/23, opening reception 6/3, 6-9 PM). She recently participated in the FIX Photo Festival in London, exhibiting with Laura Noble Gallery, and she was part of Photo Finish at Station Independent Projects in NYC.

Julie Mallozzi has launched a crowdfunding campaign on IndieGoGo for her film project, The Circle.

Thomas McNeely‘s novel Ghost Horse was recently on the shortlist for the 2016 William Saroyan International Prize for Writing (winner to be announced later this summer) and as a finalist for the 2015 Lascaux Prize in Fiction.

Richard Michelson will read (with David Giannini) as part of the Collected Poets Series at Mocha Maya’s Coffee House in Shelburne Falls (6/2, 7 PM).

Congratulations to Nathalie Miebach, who won a Virginia A. Groot Foundation Grant. She exhibits a new body of work, The Little Ones, at Miller Yezerski Gallery (thru 7/5, opening reception 6/3, 6-8 PM). As noted above, she’s one of the artists featured in Boston Cyberarts’ latest Art on the Marquee.

Sue Murad will premiere her new film, A Visitor’s Guide to Reorientation on Spectacle Island, co-created with Maria Molteni and Hermione Spriggs. The 20-minute film will screen as part of the Fort Point Arts Community Spring Open Studios, at the FPAC Space at Envoy Hotel, (6/17, 7:30, 8:30, and 9 PM).

Anne Neely has a solo show, Ireland: Place and Ritual at the Paul Dietrich Gallery (thru 7/8).

Mary O’Donoghue was featured on Christopher Lydon’s NPR program Radio Open Source on a program called Ireland Rises Again!

Lisa Olivieri‘s film Blindsided was featured in Boston Spirit Magazine.

Cecelia Raker will have readings for her play-in-progress La Llorona, first with Playwrights’ Reading Room at Morrill Memorial Library in Norwood (6/6, 7 PM), and then with Fresh Ink Theatre at Boston Public Library (6/14, 6:30 PM). This past year, she has been a Company One PlayLab Fellow and in July, she’ll have work in the PlayLab Fellowship showcase (7/24).

Monica Raymond has poems and a play monologue in the literary journal Drunken Boat.

Shelley Reed has an exhibition, up close, at Sears Peyton Gallery in New York (thru 6/18).

Congratulations to Anna Ross, whose new poetry chapbook Figuring is now available.

Emily Ross and her recent novel Half in Love with Death were featured in a recent Boston Globe article.

Eric Henry Sanders has a radio play to be read in the Life in the 413 event at New Century Theatre in Northampton (6/4, 7 PM).

Ben Sloat is one of the artists in the three-person show Uncannyland at One Mile Gallery in Kingston, NY (6/4-6/25, opening reception 6/4, 6-9 PM).

Naoe Suzuki had an artist residency at the Studios at MASS MoCA, organized by the Assets for Artists Initiative, in April. In 2016, she is Artist in Residence at Broad Institute, a collaborative community pioneering a new model of biomedical research, based in Cambridge, MA. Check out Naoe’s Tumblr site for her project Flow, an extension of the participatory installation she created at UMass Lowell last year.

Jung Yun‘s novel Shelter got a great review in the Briefly Noted section of The New Yorker. She has an article, My Fargo, in the April edition of The Atlantic.

Read past Fellows Notes. If you’re a past fellow/finalist with news, let us know.

Image: Nathalie Miebach, BLUEBERRIES (2016), Wood, rope, paper, reed, 10x6x9 in.

What Role Does Research Play in Your Art?

Thursday, April 28th, 2016

Periodically, we pose a question to artists about an issue they face in their work and lives.

Historical, archival, and other research can be crucial to artists, but how and why can vary widely depending on the artist’s work. We asked artists in different disciplines, What role does research play in your process?


View a gallery of some of the research-influenced work of the responding artists

Claire Beckett, photographer
I tend to be interested in subjects that I know very little about, so I need to learn in order to make work. For example, with my current project, The Converts, about Americans converts to Islam, I initially knew very little about the subject. I needed to learn about Islam, about Muslims in America, and about the experience of conversion. I began by reading, where I always begin, because I love to read. I read novels, I re-read The Autobiography of Malcom X, I read a linguistic study, I read ethnography, I read the news. After I while I found that YouTube was full of conversion stories, so I watched those. Beyond the reading, I joined a class for women converting to Islam at a local mosque. When I began attending the class I was straightforward, introducing myself as an artist who wanted to learn about conversion. It must have been odd for the women in the class, but they accepted me. I went on to participate in the class for several years, and I still attend whenever I can. Through the generosity of this group, I learned so much.

Cam Terwilliger, writer
As a historical novelist, research plays an enormous role in my creative process. Right now I’m finishing a novel titled Yet Wilderness Grew in My Heart, which takes place in the colonies of New York and Quebec during the French and Indian War (1754–1763). As the plot develops, the book investigates how colonists conflicted and collaborated with Native people, giving rise to the North America we know today. I’m especially interested in dramatizing the lives of people that existed between cultures, such as Native people that lived in Europe, colonists that studied among Natives, and escaped slaves that took shelter in Indigenous communities.

In terms of process, I research the past first through books of history to get a broad picture of the events, and then I move into primary sources in search of concrete sensory details of the time and place – the details that make the past feel immediate and sensory. I scour through the letters of Jesuit missionaries, the travelogues of naturalists, the narratives of slaves, and newspaper advertisements, hunting for a handful of anecdotes and images that will bring the complex truth of this time into focus. As the novelist Ian McEwan remarks, “It’s worth knowing about ten times as much as you ever use, so you can move freely.”

I then I stitch these details into a single bolt of cloth. My goal is to have all these images and anecdotes fit seamlessly together, even though I’m pulling from very disparate places. The challenge is to imagine a scenario in which they coexist in a dramatically interesting way that does not feel overly contrived or convenient.

Steve Gentile, animator
In the case of my most recently finished animated film, A Pirate Named Ned, the research found me. I was just trying to escape the idea of “reading for a purpose” because I had just finished a film about Emily Dickinson, and that involved extensive research. So I started reading about pirates just for fun. That turned into a short, animated film by accident, and I swear, the research made me do it.

Typically with film & animation, I need to become a semi-expert on the topic at hand, which means a lot of reading. Scholarly researchers who write biographies usually have more constraints with format and also the audience they intend to reach. With film, and especially animation, there’s an opportunity to take more risks, so I try to run to the margins of information. I’ve probably chased down more interesting information from footnotes and appendices than in the actual body of the texts.

Time-based media is not really the most efficient way to convey a mountain of facts and information. Writing is better suited for that. It’s hard to convey every detail of every story without putting the viewer to sleep, so a lot of the stories that I think are really neat sometimes don’t make it into a film. This is o.k. – those ideas can work their way into how a character is drawn, or how they move – how they’re animated. That’s an advantage animation has over writing.

Emily Lombardo, visual artist
When I decide to take on a project that is in direct relationship to another work of art or historical moment, I dive into research like a newly awakened conspiracy theorist. I feverishly comb the Internet for articles, links, books, interviews and documentaries. With The Caprichos, I had 80 plates to decode which Goya had made purposefully ambiguous to fly under the radar of the Spanish Monarchy. However in order for me to be able to recode and create a new independent body of work, it is important for me to step outside of the research to be able to make room for fantasy and a new narrative. The research serves as a solid point of departure where parallels and differences are revealed in my relationship with the reference. For me the research is the love affair, and the work comes after the break up. One can see the final effects of my research in the crafting of the works. This means that if I choose to appropriate a work of art that is etching I will take painstaking measures to accomplish the work in the traditional method of the artist I am referencing. By paying homage to the craftsmanship of the previous work, the audience is free to discuss why the work was made rather than how.

Azadeh Tajpour, visual artist
Research has been an essential and often the most time consuming part of my art making process. My installations of paintings, drawings, prints, and video have all been based on images or footages found within an area of curiosity, followed by further research of the subject, imagery, and the ways of representation.

Currently, I am studying a huge photo album from the 19th c., which I have been amazed not only by the photographs and their variety of genres, but also by their arrangements, and the ethnographic style of documentation. I read the textual narrative and look at their relationship with the photographs. Even though I have some vague ideas, mostly visual, the final outcome is uncertain, which can be frightening so keeping faith in the process is crucial. The next step would be to go back and look at my notes and selected images, with either a clearer sense of the direction, or just a narrower focus; this step might be repeated again and again. Research, brainstorming, drawing charts, and possible conversations will help me to progress. After all, maybe we are all doing what Michelangelo had mentioned, discovering the statue inside of the stone block by carving and carving.

 

Related reading: What do we owe to history in our art?

Claire Beckett is a photographer whose solo exhibition The Converts is on view at Carroll & Sons Gallery through May 28 (opening reception May 6, 2016, 5:30-7:30 pm. She also has work in the The Outwin: American Portraiture Today exhibition at the Smithsonian National Portrait Gallery, through 2016.

Steve Gentile is an animator, documentary filmmaker, and Professor of Animation at Massachusetts College of Art & Design. His current project, “Chateau au Go Go,” is an animated film that uses the images from wine corks to make a kinetic statement about the human history of control over nature. The research involved the opening of a lot of wine bottles.

Emily Lombardo is a visual artist who applies her vast knowledge of sculpture and print across a wide range of conceptual projects.

Azadeh Tajpour is a visual artist working in various media. She recently exhibited art based on found footage and archival photos at the Hollister Gallery of Babson College, and earlier this year, she was in a group show at the Walter Feldman Gallery and had a residency at PLAYA in Summerlake, Oregon.

Cam Terwilliger is the 2015/2016 winner of the Historical Novel Society’s New Novel Award and is currently the Tickner Writing Fellow at Gilman School in Baltimore. From May 2 to May 6, he is teaching a one-week intensive online course on Flash Fiction through the Fine Arts Work Center in Provincetown.

How Do You Approach the Business of Art?

Friday, April 1st, 2016

Periodically, we pose a question to artists about an issue they face in their work and lives.

It can be challenging to balance artistic creation with the business, financial, or other career aspects of artists’ work. Artists are encouraged to see their art career as a “business” – but how does that translate into practice? We asked artists in different disciplines, What is your approach to the business of art, and how has it changed over time?

Part two of a two-part discussion.

Jake Fried, animator
Ultimately, my experimental animations must transcend financial concerns, otherwise they become something else for someone else. Luckily, making deeply personal work that I believe in has increasingly led to new and rewarding paid opportunities.

My main source of income is teaching, mostly at the Museum of Fine Arts, Boston and the Massachusetts College of Art and Design. This past year I have created commissioned work for Adult Swim and the Marionette Record label, among others. I have screened my films at many international festivals, gallery shows and artist talks that provide awards and fees. And finally I’ve been awarded grants and fellowships, including one recently in Film & Video from the MCC.

As much as possible I want my artistic and financial success to stem directly from being true to my vision – it’s a hustle and I’m always chasing new opportunities to make this happen, but it’s worth it to make the work I believe in.

Jenine Shereos, LEAF (2013), human hair, 5x3 in, photo by Robert Diamante

Jenine Shereos, sculptor/installation artist
A few years ago, some of my work was featured on a popular art and design blog. I received a lot of exposure from this, and it had a ripple effect over the years as people continued to share the images on social media and other online venues. Many positive opportunities arose from this publicity, but it was definitely a learning experience as well. I had people contact me with bizarre commission requests, dealt with copyright issues, and even had an offer from Ripley’s Believe it or Not! This experience taught me the importance of being my own agent. To say no to things that don’t fit with my vision and to seek out the opportunities that I feel will enhance my career as an artist. I spend a lot of time researching residencies, grants, and other opportunities online. Recently, artist residencies have played a significant role in my artistic journey and have afforded me time away to focus on my art.

Similar to my artistic practice, I see the business aspect of my work as an organic process that continues to grow and evolve over time. I don’t know if I’ll ever be able to support myself fully from my art, but the obstacles keep me thinking creatively. Sometimes I feel frustrated by a sense of disconnection in my life, although I know I am not alone and many artists face the same struggle. On the one hand, my work has been shown internationally in museums and included in major publications. At the same time, I am nearing forty and waiting tables while piecing together odd jobs. Recently, I was sharing my frustrations with a friend and he asked if there was anyone I know personally who is making their living exclusively as an artist who I could look to as a model. After thinking through the many artists I have met over the years, I couldn’t think of a single one. I am slowly realizing that maybe this isn’t necessarily the end goal. I try to focus on the fact that I love making art and know I will always find a way to continue to do so against any odds.

Publicity photo from THE LAUNCH PRIZE, written by MJ Halberstadt, produced March 2016 at the Calderwood Pavilion of the Boston Center for the Arts, directed by Tiffany Nichole Greene, featuring Katharine Chen Lerner, Bari Robinson, John Tracey, and Angela K Thomas

MJ Halberstadt, playwright
People joke that Masters Programs in playwriting are “red headed stepchildren” that can’t be boxed neatly into more easily articulable Theatre or Creative Writing programs. Similarly, reconciling playwriting within the framework of a business model presents questions and problems. On one hand, I’m an artist-for-hire because different companies present my work. When they do, I am not the play’s “producer.” On the other hand, I am a free-lancer because I am the sole proprietor of my own playwriting “business.” The minimum viable product of what I can produce is a script, not a play, which is not sellable by itself – except, arguably, in the case of having the script published. It becomes necessary to tease apart distinctions, especially between my script and a company’s production of it. Combined, they make the product (a “play”) but assigning value to my part in it is tricky, especially when all of the theatre world is starving for monetary resources and many of the producers of my work are personal friends. I’m not a playwright for gain; in fact, only about a dozen American playwrights sustain themselves entirely off royalties. That’s why I have a totally unrelated day job at present; this is getting more and more difficult to reconcile since my playwriting “career” demands more of me each year.

[MJ takes a sip from a glass of whiskey.]

If my “brand” has “worth,” it’s not quantifiable. If anything, I’m building up artistic capital through making myself known and archiving reviews and, yes, “networking.” The hope is that it’ll pay off if and when I sell a TV pilot or get a job teaching playwriting.

[MJ takes another – longer – sip.]

 

Related reading: Who Is Your Audience? and How Do You Define Success as an Artist?

Jake Fried (inkwood.net) is an experimental animator whose work has shown on Carton Network’s Adult Swim, at the Tate Modern, in the Sundance Film Festival, and many other festivals and venues. He recently screened work in the Boston Underground Film Festival and has upcoming screenings at the Ashland Independent Film Festival, the Annecy International Animation Film Festival, and the Melbourne International Animation Festival.

MJ Halberstadt’s (mj-halberstadt.squarespace.com) new play is That Time the House Burned Down, produced by Fresh Ink Theatre at Boston Playwrights Theatre April 8-23. His play The Launch Prize was produced by Bridge Rep in Boston in March ’16 (read a great review in the Boston Globe). In February, he was profiled by Emerson College, and he wrote about race and privilege in theatre for HowlRound. In 2014, he was one of the artists selected to participate in Assets for Artists, a program supporting artists through financial and business training opportunities and matched savings.

Jenine Shereos (jenineshereos.com) is a sculptor and installation artist specializing in fiber and textile processes. Her work has been exhibited nationally and internationally, including in France, Italy, Switzerland, Poland, Portugal, Hungary, Austria, and Canada, and has been published in the Los Angeles Times, The Boston Globe, The Huffington Post, Make Magazine, and and the compendium Textiles: The Art of Mankind. Her work is currently on view at Centraal Museum in Utrecht, Netherlands, and in 2017, she will have a solo show at the Hampden Gallery at UMass Amherst.

Images and Media: BRAIN LAPSE by Jake Fried; Jenine Shereos, LEAF (2013), human hair, 5×3 in, photo by Robert Diamante; publicity photo from THE LAUNCH PRIZE, written by MJ Halberstadt, produced March 2016 at the Calderwood Pavilion of the Boston Center for the Arts, directed by Tiffany Nichole Greene, featuring Katharine Chen Lerner, Bari Robinson, John Tracey, and Angela K Thomas.

How Do You Approach the Business of Art?

Wednesday, March 30th, 2016

Periodically, we pose a question to artists about an issue they face in their work and lives.

It can be challenging to balance artistic creation with the financial, marketing, or other career aspects of artists’ work. Artists are encouraged to see their art career as a “business” – but how does that translate into practice? We asked artists in different disciplines, What is your approach to the business of art, and how has it changed over time?

Part one of a two-part discussion.

Wall mural by Caleb Neelon in Somerville, MA (basketball court is by Maria Molteni)

Caleb Neelon, international public artist
Last year while on a mural project in Sarajevo I passed a funny milestone: first time out at some bar (legally) downing beers with people half my age. I was 38 then and the guys were 19. They were eager young graffiti writers and they were taking the chance to grill me with nerdy graffiti history questions and ask about their favorite international graffiti writers that I had met or painted with over the years. They wanted to do their own individual version of what I had done, which was to make a career out of the doors-of-possibility-blowing-open passion of my youth. And one thing that I realized, and said to them, was that while I had been in some way a professional artist since I was their age, and those 20 years feel like forever, I’m consumed with how I positively navigate the next 40, or however long fate has in store for me. In many ways, the goals for me have shifted from a list of specifics (show here, sell for this much, publish this, paint a mural there, etc) to the end goal of doing good work up to the time I’m done here on Earth.

Crystal King, novelist, writer, and marketing/communications professional
Over the last few years, I’ve taught many classes to artists and authors on how to use social media. Many of them are there to learn only because someone, usually an agent, has told them that they need to be on Facebook or Twitter. Often, they are not happy about it. Some people do their best to engage with and build their audience. Others start social accounts but let them languish a month or so after their show or their book comes out, then bemoan the fact that no one is interested in their work.

To me, the business of art is just as important as the art itself. This is a world in which anyone has the chance to be successful. But unless you’ve managed to get lucky, you have to pay or play for your art to be noticed. If you can’t pay for publicity, then you need to learn and work for it. I’m always baffled when people are unwilling to promote themselves. If you believe in the work that you do, why on earth wouldn’t you do EVERYTHING you can to help others see your vision? This is more important than ever for me, as I prepare for my own book to come out in 2017.

Mariko Kusumoto, metalworker and textile artist
My artistic choices have changed over time, and the business side has followed the creative. Metal constructions had been my main focus since 1995, but in 2013 – after completing a very involved and technically challenging metal piece – I felt the need to move away from using purely representational imagery and do something more abstract, organic, and in a different material; the result has been fabric work. Fabric is completely opposite metal, and I like the softness, gentle texture, and atmospheric quality of the fabric I use.

In a formal manner, the financial aspects of my work are completely managed by my gallery although we work in unison to establish pricing. My metal pieces are quite expensive. But in developing smaller-scale fabric pieces, I felt that a wider audience/collector would find them more accessible, both aesthetically and financially. The public exposure for this new work (e.g., print, websites) has expanded audience interest as well.

What else has changed over the course of my career are opportunities and invitations that require an increasing amount of time to attend to thus removing me from the necessary concentration needed to make my work. I am flattered and grateful for the interest, but I have to politely refuse certain requests.

Metalwork by Mariko Kusumoto: RYOUNKAKU (2007), board game, metalworks, 27x9x1-1/2 in, photo by Dean Powell
Top: metalwork by Mariko Kusumoto from 2007; bottom: Mariko’s recent textile work
Recent textile work by Mariko Kusumoto, photo courtesy of the artist and Mobilia Gallery

 

Related reading: Getting More Out of Getting Online by Jessica Burko, and What Decision Most Impacted Your Career?

Crystal King (crystalking.com) is a 20-year marketing and communications veteran who has directed global social media programs for companies such as Pegasystems (were she currently works), Keurig, CA Technologies, and Sybase. Crystal is also a writer and Pushcart-nominated poet. Her first novel, Feast of Sorrow, will be published by Touchstone Books in 2017. She has taught classes in writing, creativity, and social media at Harvard Extension School, Boston University, Mass College of Art, and UMass Boston. At Grub Street Writers’ The Muse and the Marketplace Conference (April 29-May 1), she will present workshops on electronic tools to streamline writing and self-promotion using social media.

Mariko Kusumoto (marikokusumoto.com) is a metalworker and printmaker who is now working in fiber. Her intricate metal box sculptures have exhibited at Fuller Craft Museum, Morikami Museum, Racine Art Museum, and Society for Contemporary Craft, and her fiber creations have been featured in American Craft and Fiber Art Now magazines. She is represented by Mobilia Gallery in Cambridge, which has a Spotlight Exhibition of her work thru April 16, 2016.

Caleb Neelon‘s (calebneelon.com) wall murals and other works have exhibited in dozens of countries and in many galleries, museums, hospitals, and educational settings. Along with his artist monograph Caleb Neelon’s Book of Awesome, he is the co-author of The History of American Graffiti, Street World, and Graffiti Brasil, among other publications. His most recent projects, the documentary film Wall Writers: Graffiti in Its Innocence and an accompanying art book from Ginko Press, are forthcoming.

Images: wall mural by Caleb Neelon in Somerville, MA (basketball court is by Maria Molteni); Mariko Kusumoto, RYOUNKAKU (2007), board game, metalworks, 27x9x1-1/2 in, photo by Dean Powell; recent textile work by Mariko Kusumoto, photo courtesy of the artist and Mobilia Gallery.


css.php