2019 Fall – 2020 Spring Exhibit
Opening Reception on February 19
Featuring Judith Brassard Brown
It is with great pleasure we present Judith Brassard Brown: On the Rise and the Fall.
The sensory permeates Brown’s canvases. The hues shift from the heat of summer, through the ochre of fall, to cooling darkness of winter. The work is full of light, emotionally expressive, as evidenced by the staccato action of her mark-making. The color palette is intense, echoing a seismic sensibility, vibrating, convulsing, and bursting onto the canvas. This describes the painted surface. The expressive landscapes evoke a sense of place, which is experiential and visionary, reflecting Brown’s poetic sensibility.
Brown’s paintings exhibit an extroverted intensity, full of feeling, to resurrect a memory of place. The context of place, the landscape represents her long subject interest. Brown has worked with landscape over the last decade or more. Her paintings are of exact place and memory, likely triggering a remembrance of things past. Though the landscape lacks geographical certainty, the moment of recalling the experience of place, represents a metaphorical epiphany. Brown’s expressive paintings seduce through its sensory attributes, inviting the viewer to think and feel a sense of place.
Opening Reception on January 22
Opening Reception on October 24
Featuring Jonathan Kirk
It is with great pleasure we present Jonathan Kirk: Sculptural Abstractions and Other Fabrications.
Kirk’s sculptures and fabrications appear to be hybrid structures, which combine an intriguing mélange of forms. There are clear references to the Industrial Revolution's innovation and glimpses of the machinery of the Victorian-set fantasy world, inspired by Jules Verne and H.G. Wells. The surreal vehicles of transport and monsters of the sea and sky, conjured by their words, are fanciful exaggerated speculations of the natural and the intervened world. We are 250+ years removed from the start of the Industrial Revolution. The period represents a pivotal shift from agricultural and handicraft economies to large-scale industrial production, which continues with unbridled acceleration. Beginning in the mid-18th century the world’s “industrial engine” begins its assault on the natural world. In the attempt at besting nature, human hubris may lead to folly.
In Kirk’s sculptural world, nature represents the ancient and human intervention represents innovation. Nature owns its unique elegant design— consider the nautilus and other sea creatures, and the power and immensity of large sea and land mammals. Innovative forms related to steam engines, locomotives, and ships which challenge nature are evident and appear as iconic anchors of the work. Kirk’s sculptures appear as hybrids of mechanistic form, and at times, stylized, conglomerated interpretations. The Victorian automaton was designed to mimic, to entertain, and to surprise—but not to be scrutinized closely. Through a lens filtered by Verne Wellian echo and Victorian innovation, Kirk invites close scrutiny and interrogation of his mechanistic hybrid wonders, to expose and reveal its secrets.
Opening Reception on September 11
Featuring Jillian Anderson, Alice Lambert, Timmary Leary, Darrell Matsumoto, Joseph Ray, Sumiyo Toribe, Jason Travers, Susan Tritell, David Wackell, and Michael Yefko
Opening Reception on September 11
Featuring Alice Lambert
Featuring Vera Angelica, Vincente Garcia, Drew Goerlitz, and Thomas Matsuda
This collaborative effort between Art in the Park of Worcester and Anna Maria College introduces public art to the college campus. A spacious venue known for its natural beauty, the display becomes a highlight of the visual landscape.
The public, students, and staff are invited to explore and enjoy these sculptures throughout the academic year. Join Anna Maria College as various programs, and sculpture walks celebrate this new partnership. Materials and information about the sculptures are available by visiting the Office of Admissions or the Art Center in Miriam Hall.