Jan 6 - 31, 2016
Friday, Jan 8
SOLO 2016 awards two solo exhibitions to two New England artists who have not previously had a solo show in a commercial gallery.
Juror: Ruth Erickson, Assistant Curator at the Institute of Contemporary Art, Boston.
Ruth received her PhD in the History of Art from the University of Pennsylvania in 2014. From 2004-2007, she was Curator at BCA Center, Burlington, VT, where she organized over two dozen exhibitions. In addition to her curatorial work, she has published several essays, presented papers internationally, and writes art criticism for Art Papers and ArtNews.
She has also served on the Society of Contemporary Art Historians as well as the European Postwar and Contemporary Art Forum.
SOLO 2015 Winners:
Juror: Judith Tolnick Champa, independent curator
SOLO 2014 Winners:
Juror: Al Miner, Assistant Curator of Contemporary Art, Museum of Fine Arts, Boston
SOLO 2013 Winners:
Juror: Dina Deitsch, Curator of Contemporary Art, deCordova Sculpture Park and Museum
SOLO 2012 Winners:
Juror: Jen Mergel, Senior Curator of Contemporary Art, Museum of Fine Arts, Boston
SOLO 2011 Winners:
Juror: Randi Hopkins, Curator, Institute of Contemporary Art, Boston
SOLO 2010 Winners:
Jarrett Min Davis
Juror: Brian T. Allen, Director of the Addison Gallery of American
Art in Andover, MA
"In the Museum"
Museums have spaces that surround art. These margins are created for people to move through. They are the spaces we are in, however; there are walls we don’t look at, colors we pay no attention to, light we don’t see: beautiful spaces we ignore.
The context through which we view a work of art while in a museum can broaden our experience and response. Marble sculpture is a representation of the human form. As we visually turn marble into flesh and form into body, we become a part of the action, and our experiences become personal and intimate.
This work explores the entire length of the U.S. Gulf Coast and the way its varied history, economics, environment and culture intertwine to reveal a simultaneous reverence and abuse of its natural resources.
As I photographed along the southern edge of the Gulf Coast states most affected by the BP oil spill of 2010, I saw the contradictions in the economic, environmental and social landscape of the area as it coped with the negative impact of events created by an industry on which it depends. At the height of the disaster, I photographed the region that the U.S. government declared a “No Fishing Zone,” closing thousands of square miles of open ocean as well as coastlines in Louisiana, Mississippi, Alabama and my home state of Florida.
I returned to the area in 2014, this time slowly covering the entire US Gulf Coast from Naples, Florida to the southern point of Texas over six weeks and crossing more than 5000 miles. The latest photographs further explore the nuances of the region and also include the ubiquitous use of land, animals and natural resources as they pertain to industry and recreation. The traditions, attitudes and livelihoods that are passed down through multiple generations are wound tightly into the fabric of the place and are often visible within the landscape.