Ron
Rosenstock
THE BEST OF ITALY:
"Una Mostra Speciale"
of photography celebrating the inauguration of Francesco Cesareo as
President of Assumption College
August 20-October 14
Jackie Picard
PRAISE
'N PAINT
October 15- November 23
Student
Art Show
November 26, 2007- January 11, 2008
Scott
Glushien
New
Work
January 28 – March 7
Judith
Leemann
on the use and abuse of ornamental outlines
March
10-April 19
Senior Seminar
ARTWORKS
April 21 – May 9
ARTISTS' STATEMENTS:
|
I
created my works using
the same process I use when I paint; sketching it out, selecting a
color
palette, building up the subject layer by layer, changing my mind,
taking away
layers, adding more, touching it up, finishing and breathing a sigh of
relief. Again,
like painting, I tried to achieve value and space through color,
temperature,
and texture. In this case however, I
used fabric as my paint. Through this
process I hoped to explore the connection between a historically “male”
process
of painting, with the historically “female” process of sewing.
|
Tara Fountain
|
|
|
Although
there are women who are recognized for their excellence in painting,
throughout
history, predominantly males are known for the medium.
Likewise, many men can sew but it is women
who have become associated with the process. This
may still hold true today. Name 5 well
known painters. How
many of them were women? Also think of your family.
Who would ask for help if you needed a button
sewn back on to a shirt?
|
| By
making David, a symbol
of masculinity and victory, out of layers of tulle, a material commonly
used in
dresses, is he any less masculine or victorious? What
about when you look closer and realize
his hair is made of a pattern of flowers? What makes one “masculine” or
“feminine? |
|
|
While
sewing in David’s eyes, I reach a point where I had to stop. The process of poking the needle through the
canvas where the eyes were located was too violent for me to continue. Violence. Does it
make one more manly? Are
women expected to be passive and nurturing? Was
I too girly to finish?
|
|
Through
my work, I also
wanted to explore the difference between a “fine art” and a “craft”. Few would object that painting, drawing and
sculpture fall under the fine arts category, but what about sewing?
What if the
sewn piece is of a classical sculpture or a recreation of a painting?
|
|
|
I
have been sewing since I was 8 years old. When
I look back on my experiences with sewing, I wonder,
is it an
artistic talent or is it just a useful skill to have?
Is something that is practical still
considered art? What if a dress is hung
up at an art gallery? How about quilts? Some are too delicate to be put to use but are
hung on walls like art work is. Where is the line between art and craft? Is there a line at all?
|
|
I
hope that my work is a
catalyst for discussion of these questions; I do not expect them to be
the
answers.
|
|
<>
Jessica
Kingston | Artist Statement
What
are women in today’s society?
How
are our body images shaped?
Are we
just pieces of meat to men?
Will
our appearance determine our success?
The media
constantly bombards us with sexual imagery. I get fired up whenever I
pick up a
Cosmopolitan Magazine because of all the garbage printed in it. Is this what we have turned into, idolizers
of celebrities that look like skeletons? Most of these women look
fake and
mannequinesque after having ridiculous and unnecessary plastic surgery
procedures. Our society places too much emphasis on appearance.
Eventually
youth and beauty fade away.
I am greatly
inspired by Martha Rosler and her collages depicting women in relation
to war. There’s great substance to the work she creates and relays her
personal feelings about women without censorship. I also find great
inspiration
in 17th century Dutch still life paintings which relay messages about
mortality. My work this semester has been a process of discovering and
trying
to display my personal feelings about body image in relation to our
society and the media.
Lauren Padula
Room, light, cluster, tight, messy, life,
lifeless, motion,
vibrate, space, balance, control, depth, and value are all the
ingredients
needed to create a moment in time that is frozen and captured by
charcoal and
paint on paper and canvas. Creating an endless story of possibilities,
I invite
you into someone else’s life for a moment to imagine, create and judge.
These art pieces let you travel through the
given lines,
focus on the filled rooms and stare back at the stern faces. Charcoal
and
brushes are used to make the precisely blurred room overwhelming yet
fulfilling
and relieving. The focus is on everything. The goal of these art pieces
is to
create space. With this space I created action and with this action I
created
spills, bends, leaning, twists, turns, and a mess.
This painting smears life onto the canvas with
color. The
color and the brush strokes fill the room. There is less confusion with
objects
throughout the painting but it is still just as busy as the drawings.
The
clutter comes from the strokes and the heavy paint. Massive amounts of
objects
are not necessary because the room is filled with the spaces of chaotic
walls
and floors mixed together to give the room a vibrating sense.
With these pieces I proved to myself that I
do
not need
well defined objects to create a story. Detail does not have to be
perfect. It
needs value and a light source to come out of the picture and into real
life.
It makes these frozen moments look simple but lively. The clutter gives
a
direction for these stories and makes us all want to be able to live
through
such a strong balance of black, white and color.
Judith Leemann
on
the use and abuse of ornamental outlines
March 10-April 19
Exhibition Opening: Tuesday, March 18,
2008, 4:30 p.m.
|
 |
|
|
 |
|
|
Scott Glushien
New
Work
January 28 – March 7
Exhibition Opening: Wednesday, Wednesday, January 30, 2008,
4:30
p.m.
|
Scott Glushien was born in Springfield, Massachusetts. He
graduated
from Hampshire College with a Bachelor of Arts degree in 1992, and from
Yale University with a Master of Fine Arts degree in 1995. His
photographs have been exhibited nationally in both solo and group
shows. Scott is currently an Assistant Professor of Art at Assumption
College and resides in Worcester, Massachusetts.
November
26, 2007- January 11, 2008
Exhibition
Opening: Wednesday, November 28, 4:30 p.m.
Works by students of Edie Read, Judith Leemann, Scott Glushien,
Marlene Rye, Gary Orlinsky, Tom Grady and Jeremy
Long
Jackie
Picard
Praise
'n Paint
October 15- November 23
Exhibition
Opening: Wednesday,
October 17, 2007, 4:30 p.m.
Artists'
Statement: Watercolor is wondrous!
The play of colors and their affinity or aversion to each other
in
different situations (much like sentient beings!) is almost bewitching,
whether
your pursuit of art is a pastime or a passion.
Then, too, its utter spontaneity fascinates and frustrates me
endlessly—always challenging the brush-wielder to follow where it
leads.
Poetry is tricky, too.
I can’t make it happen at will, but I try to catch what I can,
of what
goes by, and sort it out later to see if anything is worth keeping.
I came early to an
appreciation of art, and an attempt to
express it, but before I found the right brushes, I found the right
husband,
and one at a time, seven intriguing children.
My imagination and creativity was temporarily redirected. As our children grew and left for
college
and homes of their own, I found pleasure in giving form to expressions,
whether
in print or paint, of life’s unique gifts and experiences, as they had
come to
me through the years. Both avenues are
channels of praise.
I graduated from Regis
College in Weston, Massachusetts
with a Bachelor of Arts degree. Although
I had no formal art training, I’m lucky to have studied under several
gifted
artists throughout the years including the late Bob Pomfret and Betty
Dunlop;
Gail Rose, Carole Berren, and more recently, Donna MacLure.
My work has been
displayed at the Hynes Auditorium in Boston,
Bates College,
Worcester Public Library, Lincoln
and Cranston Libraries in RI and the Arnolds Mills Community House in Cumberland, RI. My
watercolors hang in private and corporate
collections throughout the United States,
and in Canada, Mexico and Poland.
It’s a delight to be
exhibiting here at Assumption
College,
and for this exciting opportunity, I thank Melanie Demarais and Dawn
Thistle.
Jackie Choquette Picard
Cumberland,
RI
Ron
Rosenstock
THE BEST OF ITALY:
"Una Mostra Speciale"
of photography celebrating the inauguration of Francesco Cesareo as
President of Assumption College
August 20-October 14
Exhibition
Opening:
Wednesday, September 5, 2007, 4:30 p.m.
Ron
Rosenstock was born in
Monticello,
New York.
He attended
Boston
University, majoring in
history, but
went on to get his Masters degree in photography from
Goddard College.
Along
the way he studied privately with Minor
White and Paul Caponigro.
Rosenstock’s work can be found in the permanent
collections
of The Fogg
Art Museum, The International Center of
Photography, Massachusetts Institute of Technology, Polaroid
Corporation, Torre
Guelfa Gallery, Florence,
Italy,
and The
Worcester Art Museum, among others. In
addition, many private collectors,
including Deepak Chopra, Maeve Binchy and Paul Caponigro, own his
photographs.
His published books
of photography include Hymn to the Earth (Silver
Strand Press, 2003), The Light of Ireland (Silver
Strand Press, 1999), and Chiostro, Photographs of Italy
(Silver
Strand Press, 2001).
Artist's Statement:
Although I work
with recognisable subject
matter and often present my photographs as a body of work from a
particular
place, my concern is really not subject matter, but light. Using a
dark-cloth
to see the image on the ground glass of my 4 x 5 camera, I look for
that
balance of light and shadow that feels right and complete. The
fact that
images appear upside down on the ground glass facilitates this abstract
way of
seeing. I do not attempt to turn the image around in my mind or adjust
it until
it represents the original scene. My intent is to discover a balanced
composition of light and shadow as it appears on the glass. I also look
for the
line or the edge where one value meets another. In the most meaningful
images,
that line flows and creates an emotional quality, both on the ground
glass and
in the final print itself.
For me
seeing photographically is a process of discovery. I do not apply rules
of
composition or restrict myself to photographing at any particular time
of day.
I am, however, very aware of how film responds to light and of the
workings of
my camera. These controls are necessary, as is knowledge of
darkroom
technique, to reproduce the experienced image in the final
print.
My work as a photographic tour
leader
takes me to different countries on a regular basis. Over the many
years
of working with my camera I have developed a deep appreciation for the
many
gifts I have received. The only way I can repay that debt is to
inspire
others, as I have been inspired.
