http://www.artscopemagazine.com/rss/marapr2008.xml The March/April 2008 Second Anniversary issue of artscope magazine <br>Welcome Statement, March/April 2008</br> <p> As we were putting together this issue, we learned of the passing of artscope Fine Arts Contributing Editor leon Nigrosh at 67. For decades, students have used Leon's books as the definitive guide to making ceramics and New England art lovers, especially those in the Worcester area where he lived and taught, have learned of the exhibitions of hundreds of artists whose careers he took from first exhibitions to career retrospectives, and galleries new and old, through his writing. He was the first writer to commit his talents to making this publication a reality. In remembering Leon's contribution to this magazine, publisher Kaveh Mojtabai said, "From the beginning, Leon had an unwavering belief in artscope to keep its promise and fill a void in the arts." Many of the ongoing changes you've seen in artscope are due to his suggestions. We dedicate this issue to him.</p> <br></br> <p> Leon would have loved the Mizusashi exhibition at the Art Complex review by Sarah Fagan in this issue and been glad to see two new writers from Rhode Island (Meredith Cutler, who previews the "Sit Down – the Process of Furniture Design" spotlight of RISD students at Gallery Z) and Burlington, Vermont (Alexandra tursi who reviews the Michael light exhibition at the University of Vermont). Our constant expansion beyond our original Greater Boston and Cape Cod coverage area is in response to your ongoing feedback which has asked us to "Serve the arts in the region," "Change the face of the arts in New England" and to "Be a vehicle between artists and their audience." </p> <br></br> <p> That challenge becomes greater every issue, as our readership and subscription list grows (take this as a reminder you can guarantee that you never miss an issue by subscribing to artscope - call our office at (617) 639-5771) or go to www.artscopemagazine.com and we receive an ever-growing number of requests for coverage from galleries, artists, and theater directors throughout New England and around the world. We recently received a request to cover the corporate Red Bull Art of The Can exhibition in Texas and the Royal Buckingham Palace's Queen Jewels exhibition at St. James Place in London.</p> <br></br> <p> Don't worry. While that one got a double take from all of us in the artscope office, we remain dedicated to being "New England's Culture Magazine" and encourage you to dig in to the following pages and read Roanna Forman's review of "the Birth of the Cool" show at the Addison Gallery of American Art, excited raves about the Hartford Jazz Society and the vermont Jazz Center, Franklin liu's story on Prometheus Dance's spring season and our collection of museum and gallery exhibition reviews from throughout the region. </p> <br></br> <br></br> Brian Goslow, managing editor (bgoslow@artscopemagazine.com) <p>Boston Athenaeum <br>10 1/2 Beacon Street;/br> <br>Boston</br> <br><br>Through April 19</br></br></p> <p>Artist Thomas Kellner was born in Bonn, Germany in 1966, a decade that was auspicious for revolutions and revolutionaries in thinking and action. And in my view, Thomas’ particular role was to make the visible, risible. However world-historical the monument, say, the Eiffel Tower, or the Golden Gate Bridge, the British Museum, or, even that icon of icons, Stonehenge, Herr Kellner will find that precise angle in which the dusty cloak of reverence will begin to vibrate with levity.</p> <p> Thomas’ work caught the eye of director of Boston Athenaeum director Richard Wendorf a few years ago, as he chanced to look into a gallery on Museum Street in London. </p> James Foritano <p>Copley Society of Art <br>29 Newbury Street;/br> <br>Boston</br> <br><br>Through April 30</br></br></p> <p>Artists that live in the communities of Cape Cod have a certain sensibility about their home that becomes a part of their work; that is, they love where they live. This fact is certainly true of Rick Fleury, who is featured this spring at The Copley Society of Art in Boston (Co/So).</p> <p> As a self-taught artist, Fleury has enjoyed a successful career, exhibiting in several museums and galleries including the Provincetown Art Association and Museum, the Cape Cod Museum of Art and the Boston Design Center. </p> George Gerard <p>Barbara Krakow Gallery <br>10 Newbury Street;/br> <br>Boston</br> <br><br>Through April 9</br></br></p> <p>One gallery, two exhibits. Through April 9, Newbury Street’s Barbara Krakow Gallery devotes its main room to installations and works on paper by Liliana Porter, while another space is dedicated to its Print Publishers Spotlight: Graphic Studio exhibition featuring puzzle piece-like monotypes and sculptures by Allan McCollum. .</p> <p> Some found object artists integrate their finds in ways that make them turn into something new, bending to the artist’s will. Liliana Porter’s found objects take over; they have ambition. </p> Sarah E. Fagan <p>Berenberg Gallery <br>4 Clarendon Street;/br> <br>Boston</br> <br><br>March 12 through May 3</br></br></p> <p>“Folk, Self-Taught, Contemporary.” These three words circle the logo of Berenberg Gallery, a South End showcase located one level down from the frame shop at 4 Clarendon Street in Boston. To me, these words speak of art that is imaginative, personal, relevant and infused with a touch of the whimsical. Case in point: the gallery’s spring show featuring work by Canadian mixed media artist Scott Griffin, whose works feature thin faceless figures, usually painted with encaustic (wax) on found objects..</p> <p> The artist calls himself a “pack-rat,” and has salvaged materials to draw on since childhood. “This one was made on a live bait tackle box,” remarked Lorri Berenberg, the gallery’s director, pointing out a few works of Griffin’s from the gallery’s permanent collection. “That one up there was burnt with an arc torch.” </p> Sarah E. Fagan <p>Space 242 <br>242 East Berkeley Street, Second Floor;/br> <br>Boston</br> <br><br>March 28 through April 18</br></br></p> <p>Call it low-brow art, or maybe just an alternative to your typical fine art gallery on Newbury Street, but Space 242 in the South End of Boston aims to match new collectors with artwork at affordable prices, bringing at the same time much-needed exposure to artists on the verge.</p> <p> But Craig Bostick is not simply an artist on the verge. He’s been exhibiting professionally for 10 years ever since relocating to Boston from St. Louis. He came with some friends, many of whom he’s still in touch with, and since moving here, he’s had the opportunity to further develop his cartooning, which makes up a large portion of his upcoming Space 242 exhibit, “Tricycle.” </p> William Henderson <p>Boston University Art Gallery <br>855 Commonwealth Avenue;/br> <br>Boston</br> <br><br>Through April 6</br></br></p> <p>Full of danger and desire. A source of spiritual solace and cultural distance. Beautiful and heartbreaking. The many facets of the ocean, as seen through Cubanidad (the essence of what is Cuban), are on view in this exhibition curated by BU graduate student Natania Remba. Featuring over a dozen artworks from the last two decades, the exhibition fascinates and disturbs, much like its liquid subject..</p> <p> This dual existence comes into stark focus in another signal work, “The Accursed Circumstance of Water All Around” by Sandra Ramos. Painting a self-portrait on top of a 19th-century engraving from “Alice in Wonderland,” Ramos turns her prone body into the profile of the island. An innocent floating in an azure sea, she is stabbed by half a dozen royal palm trees, their trunks bloodied — half Alice, half St. Sebastian. </p> Gary Duehr <p>Museum of Fine Arts, Boston <br>465 Huntington Avenue;/br> <br>Boston</br> <br><br>Through June 1</br></br></p> <p>This is a show that will take you wherever you want to go and land you back in the same neighborhood you left, just as if you were Mary Poppins flying over the rooftops of London. The artists here were inspired by the Italian Futurists, who were so inspired by movement, revolution and change that a good number of them mounted horses and galloped off to imbibe the viral, virile tonic of World War 1 – where they promptly got their heads knocked off..</p> <p> That was not the end of the story, though, since movements, even headless ones, have a way of jumping boundaries and continents. This one landed, alive and kicking, at London’s Grosvenor School of Modern Art to be embraced by an artist/craftsman/teacher aptly named Claude Flight. </p> James Foritano <p>The Art Complex Museum <br>189 Alden Street;/br> <br>Duxbury, Massachusetts</br> <br><br>Through April 13</br></br></p> <p>The town of Duxbury sits poised on the water just north of Cape Cod’s muscled arm. Up the street from the beach sit 13 acres of property which were once a farm owned by John Alden, a passenger on the Mayflower - and one of Duxbury’s founders. His house, c. 1650, still sits on the property, as does a second (rumored to be haunted) home and the old Alden barn. Centuries since this pilgrim’s progress, another established family name made a mark on these 13 acres. In 1971, Carl Weyerhaeuser of the Weyerhaeuser Timber Co. family established the Art Complex Museum on the grounds of the farm, just up the path from Alden’s second house and barn. The former now houses visiting artists, while the latter contains a Japanese tea house. Carl’s son Charles eventually became director, which brings these 13 acres to the present day.</p> <p> It was the late Carl’s particular passion for collecting that helped establish the museum’s varied collection, which includes, besides paintings and prints, a unique collection of Asian art and the largest collection of Shaker furniture outside the movement’s American hometown. It was Carl’s eye that began a collection that is the star of the museum’s spring show in its Rotations Gallery – “Mizusashi.” The museum’s founder sought Mizusashi, fresh water containers used in the Japanese tea ceremony, when the contemporary collecting rage was European art. </p> Sarah E. Fagan <p>Concord Art Association <br>37 Lexington Road;/br> <br>Concord, Massachusetts</br> <br><br>March 27 through May 3</br></br></p> <p>One may first think of a woodcut image as a graphic illustration in an old book. But don’t mention that to Dorothy Thompson, who has been preparing “New England Impressions II” using her vast knowledge of area printmakers.</p> <p> Thompson has put together a collection of artists that use various techniques in combination with woodcut. Highly developed skill, aesthetic freedom and spontaneity come together to make successful works of art resulting in a series of “variable edition” prints. When the artist pairs the woodcut with other media, the subtle tones and layered shapes produce remarkable results. </p> James Dyment <p>Addison Gallery of American Art, Phillips Academy <br>180 Main Street;/br> <br>Andover, Massachusetts</br> <br><br>Through April 13</br></br></p> <p>This exhibit, on tour from the Orange County Museum of Art, has immersed itself in late-1950s California cool. In the first gallery, imaginary viewers sit on two white Henry Bertoia diamond lounge chairs and watch the film “Tops” on a wall-size screen. Designers Charles and Ray Eames shot these whimsical close-ups of children’s toys set to jazz played by the musicians on the L.A. TV show “Stars of Jazz.” Onion and apple-shaped, the mini dervishes whirl and swing like bumper cars near banister legs, flower vases, Biblical text and a trompe-l’oeil.</p> <p> The spatial possibilities of the large gallery were logical for the many works by Lorser Feitelson, Helen Lundeberg, Karl Benjamin, Frederick Hammersley and others. These California painters were at the opposite end of the spectrum – and the country – from the roiling neurosis of East Coast abstract expressionism. They solidified, blocked and purified form: they made it Zen.</p> Roanna Forman <p>Boston Center for the Arts <br>539 Tremont Street;/br> <br>Boston</br> <br><br>Through March 30</br></br></p> <p>The planet’s tired, our political system’s tired and many of us are just plain tired. That means lots of yawning, and Critchley’s work, composed of two seven and eight minute videos complimented by 5 x 7 ½ foot photos, seeks to give this unheralded human act its due.</p> <p> “Little has been done digitally in terms of looking at the yawn as a human expression,” said Critchley, who combed the Internet and his hometown Provincetown Library to study the yawn’s history. “It’s pretty complex and misunderstood.</p> Brian Goslow <p>Revolving Museum <br>22 Shattuck Street;/br> <br>Lowell</br> <br><br>Through December</br></br></p> <p>When Jerry Beck came to the city of Lowell five and a half years ago, we wondered what was happening to that vacant building that wraps around the corner of Shattuck and Middle Streets. Someone said, “What’s a Revolving Museum?” Then the front door began to shine and the front yard sprouted flowers and a gigantic human head. Now, wait a minute, what was going on in there?</p> <p> As it turns out, the Revolving Museum is a large installation - constantly changing. It beckons you to enter with its bold sculptures and colorful signage. Doesn’t matter if you are old or young; you’re invited! And it’s free during normal hours. There’s a lot going on: creativity, teamwork and learning. The Revolving Museum is interactive and engaging.</p> James Dyment <p>The Art Gallery, University of New Hampshire <br>Paul Creative Arts Center, Arts Way;/br> <br>Durham, New Hampshire</br> <br><br>Through December</br></br></p> <p>Mount Monadnock’s status as the second most climbed mountain in the world (behind only Mt. Fuji in Japan) means that its beauty is no secret. Said to have inherited its name from an Abenaki phrase meaning “the one that stands alone,” it has long been a retreat for artists. Some of its earliest famous admirers were Transcendentalists Henry David Thoreau and Ralph Waldo Emerson.</p> <p> This exhibition was co-curated by independent curator Pamela Russell and director Maureen Ahern of Keene State College’s Thorne-Sagendorph Art Gallery, where it made its debut. “On Gilded Pond” is as much a lesson in art history and a tribute to the past as it is an art exhibition.</p> Elena Sarni <p>The William Benton Museum of Art, School of Fine Arts, University of Connecticut <br>245 Glenbrook Road;/br> <br>Storrs, Connecticut</br> <br><br>Through March 30</br></br></p> <p>Encased beneath upside-down mayonnaise jars, the 60-year-old flowers still thrive. Pipe cleaner daisies smile in yellow and white. Crocuses yawn in fuzzy-wired lavender. Other perennials with furry emerald stems stay forever budded, violet petals curled in like pinched mouths.</p> <p> But this is no craft project. In absence of real flowers, Japanese-Americans in 1940s internment camps artfully arranged artificial bouquets to add color to the stark barracks that served as their homes. Now, the crude yet beautiful arrangements are a haunting echo of the horrors of injustice in “The Art of Gaman.” </p> Taryn Plumb <p>Powers Gallery <br>144 Great Road;/br> <br>Acton, Massachusetts</br> <p>There’s something particularly enchanting about locating an art gallery in an old New England home. It’s the kind of showcase that gives visitors a sense of what works of art might look like in their own home. The Powers Gallery in Acton, which has been the premier art resource in the area since 1964, takes the concept a step further. The home in which this gallery is housed is not just any old home. It is the John Robbins House of Acton, a stately structure built circa 1800.</p> <p> The Robbins House is known locally as one of the town’s “Lottery Houses,” owing to the fact that it and three others were built from the winning shares of a $5 lottery ticket used to raise funds to help build Harvard College’s Stoughton Hall. The Powers lease the site through the Historic New England Stewardship Program, who acquired the home through donation from its former owners, the Nylander family of Acton.” </p> Chet Williamson <p>McGowan Fine Art <br>10 Hills Avenue;/br> <br>Concord, New Hampshire</br> <p>Bert Yarborough’s resume looks like a roadmap through the world of Art. He’s studied architecture, photography and site-specific sculpture and had a Fulbright scholarship to study carving with a fourth generation Nigerian tribesman before returning to the United States to make his name as a painter. He’s been awarded grants and fellowships, worked as a curator and gallery director, and is now an Assistant Professor of Art at Colby-Sawyer College in New London, New Hampshire, as well as part owner of artSTRAND gallery in Provincetown. </p> <p> “I just followed the work,” Yarborough modestly explained. I didn’t force any of these changes. The last few years it’s all kind of been distilled down basically to all these kind of individual elements: the sun, the water, birds, the head; elements as in actual physical elements and elements as in parts of the kinds of things that I use.” </p> Chet Williamson <p>Gallery Z <br>259 Atwells Ave;/br> <br>Providence</br> <p>The bones of well-designed furniture echo an era when everyday household articles had the artisan legacy missing from so much of today ‘s mass-marketed, disposable clutter. Whether your taste runs towards Eames or IKEA, furniture assumes a significant role in our human experience. Exalted as art, or taken for granted, furniture supports our weight, articulates our space and offers a strong platform for the exploration of materials, engineering and object interaction.</p> <p> Fans of deliberate design and articulated process have reason to focus their lens on Providence, for the students of the Rhode Island School of Design ‘s (RISD) renowned furniture design program are revealing the secrets behind their work in an interactive exhibit at Gallery Z, located in the neighborhood of Federal Hill. </p> Meredith Cutler <p>Jameson Gallery <br>305 Commercial Street;/br> <br>Portland, Maine</br> <br><br>Through March 15</br></br></p> <br><p>Taking Different Trails: The Artist's Journey to Katahdin <p>Bates College Museum of Art <br>75 Russell Street;/br> <br>75 Russell Street</br> <br><br>Through May 24</br></br></p> <p>Simultaneous exhibits are not common in the art world, but neither is 18 artists banding together to help conservationists raise millions to preserve Maine’s Lake Katahdin and make it part of Baxter State Park. These sister exhibits celebrate this accomplishment and the great love affair between Maine artists and Katahdin.</p> <p> Maine native and Jameson Gallery director Wes LaFountain, curator of the exhibit with assistance from Marsha Donahue, said the love affair between artists and Katahdin dates back to the late 19th century, beginning with Frederic Church and followed by Marsden Hartley and James Fitzgerald.</p> Elena Sarni <p>Robert Hull Fleming Museum, University of Vermont <br>61 Colchester Avenue;/br> <br>Burlington, Vermont</br> <br><br>Through June 1</br></br></p> <p>“Time and space in this country are manipulated without regard for our surroundings, which is one of the reasons why violence needs to be examined within a discussion of the contemporary landscape.” — Michael Light</p> <p>Violence, removed from its point of origin, as when it is depicted in a photograph or other form of representation, becomes something new. It may attract the viewer’s curiosity, invite or seduce interest, and also repulse. </p> Alexandra Tursi <p>Tucked away on the third floor of the innovative landmark marketplace of Thorne’s Market, the eclectic proportions and focus of Available Potential Enterprises, known to most as A.P.E., has served Northampton well. For decades, its gallery and exhibition space has represented the vanguard of art presentation and experimentation in the Western Massachusetts city.</p> <p>The market and the arts laboratory of A.P.E. was the brainchild of architect, artist and entrepreneur Gordon Thorne. The nontraditional space has accommodated a profusion of dance, theater, fine art exhibitions and art experiments that have celebrated innovation, new ideas and interesting collaborations. Productions that would have never seen the light of day in the college and university theaters or the larger commercial venues have found a welcome home at A.P.E.</p> Greg Morell <p>While they had grown up in the same house – even sharing the same room in Worcester, Massachusetts (albeit 30 or so year apart), filmmaker Tobe Carey wasn’t familiar with Pulitzer Prize winning poet Stanley Kunitz until he came across a profile of him in a 2003 issue of The New Yorker. “I would hear his name, but I literally didn’t know him,” Carey said. “I didn’t know he wrote poems about the house.”</p> <p>That stucco white house where Kunitz lived from 1919 to 1928 was the basis for many of his most popular poems, including “The Testing Tree” and “My Mother’s Pears.” The more Carey learned about Kunitz, the more he felt he should give him a call to share memories of the Woodford Street home. “I ruminated for six to nine months before considering calling him, not knowing what health he was in,” Carey said. </p> Brian Goslow <p>Prometheus Dance is a small but dynamic Boston-based dance company founded by Diane Arvenites-Noya that’s currently celebrating its 20th anniversary season of enhancing culture through the art of expressional dance.</p> <p>There is nothing timid about this dance company’s mission, as their exceptional name would attest. After all, it was in Greek mythology that Prometheus was credited for stealing fire from Zeus. And, going beyond the Titans’ association of primal concepts such as sun, moon, ocean, earth and natural law, Prometheus Dance’s choreography leaps to elevate earthly social consciousness, addressing a wide range of human issues vital to the community, all with a dance structure that is closer and more immediate to the human experience.</p> Franklin W. Liu <p>Teachers can have a tremendous amount of positive impact upon a child’s life and the students and professors at Lesley University’s Creative Arts in Learning Program are a living testament of how passion and creativity can fuel the education system and enrich the lives of students from grades K-12. Members of the university’s graduate faculty created the graduate degree program for teachers and other education professionals. It is unique in its mission of using the integration of the arts into the standard school curriculum, fusing courses like history and literature with drama and the visual arts.</p> <p>Students enrolled in the program range from recent college graduates to those who have been in the workforce for 30 years. They’re all interested in how to better reach their own students at their respective schools or community centers. In addition to being offered on Lesley’s Cambridge campus, the program is taught in 23 states across the country as well as internationally with courses currently being taught in Israel. </p> Sara Farizan <p>Up on the bandstand, from Hartford to Brattleboro, jazz continues to flourish, thanks to the commitment and love of two long-standing dedicated organizations.</p> <p>The Hartford Jazz Society is the oldest continuously running organization of its type in the United States. In 1960, after Hartford lost its elegant Heublein Lounge, watering hole for a large number of top-shelf New York jazz artists, local aficionado Art Fine and friends formed the Hartford Jazz Society (HJS) in a conversation on Fine’s front lawn. Its aim was to preserve and promote fine quality jazz in Hartford, and Fine gave it everything he had. Members got pre-concert soirees, post-concert jam sessions, lectures, films and trips to New York ($8 total in 1965). Early HJS newsletters and press clips – all archived on HJS’s website read like a blog of bubbly chat on who’s hot, and who’s coming, with appearances by local sons Randy Weston and Horace Silver.</p> Roanna Forman <p>If you find yourself taking an early spring drive to the Cape or Southeastern Massachusetts, there are two campus-based exhibitions worthy of a short side trip. "Correspondences: Contemporary Art from the Coleccion Patricia Phelps de Cisneros" features 34 works by many of the most heralded Latin American artists of the past half century, including Sigfredo Chacon, Ernesto Neto, Alejandro otero, Helio oiticica, Gego and Ana Mendieta through April 10 at the Beard and Weil Galleries of Wheaton College, 26 East Main Street, Norton. (Many college galleries will be closed during the spring break vacation period; Wheaton's will be closed from March 7 through 16). </p> Artists Robert and Shana ParkeHarrison, leslie Schomp, Maryjean viano Crowe, Alexandra Dooley and Brian White use clothing as their canvas to explore issues of importance in the "Dress Code: Clothing as Character" exhibition which remains on view through April 11 at the Cushing-Martin Gallery at Stonehill College, 320 Washington Street, Easton, Massachusetts. </p> Utilizing "various forms of literature, theatrical contexts, and historical representation, the artists work with a variety of methods and materials, such as photo-collage, fabric, seashells, paper and wax, and traditional drawing elements." The show shares the spotlight with Tasmanian artist Christina Henri's "Roses from the Heart Bonnet Project." The exhibit features commemorative bonnets to acknowledge the 25,566 convict women who had been brought to Australia from Ireland and the United Kingdom. Stonehill students and area artists have added their own bonnets to join Henri's tribute. </p> "Just When you think Art is Dead, Here Comes JED" sounds like the kind of a show where its participants will become keep-an-eye-on artists in the upcoming years, if only to find out what sacrilegious act they may carry out next. The photographic works in this show originate in the trash bins of photographers who never intended for these images to see the light of day. Then, the mysterious JED (three renegades who take their name from each of their first initials) put these works into a new context and format, and in the process, turn them into a visually entertaining piece of "high" art, as the show's press release claims. You might disagree, but this certainly sounds entertaining, at the very least It opens on March 1 and continues through April 27 at the lyman Allyn Art Museum, 625 Williams Street, New London, Connecticut. </p>Inspired by his dad, a member of the former National League Boston Braves, lance Richbourg has been capturing magic moments on the baseball diamond in his watercolor paintings for over a quarter-century. "American Icons: Paintings from the Baseball and Marilyn Monroe/Joe DiMaggio Series" captures magic moments from two great periods – the fabulous'50s and more recent ballgames from the modern era from March 4 to April 12 at the New England College Gallery, Main Street, Henniker, New Hampshire. Worcester's downtown gets a muchneeded boost with the March 15 opening of the Hanover Center for the Performing Arts at 554 Main Street. </p>Owners have painstakingly restored the former Poli Palace movie theater and during its inaugural series of events, the works of area artists Frank Armstrong, Stephen DiRado, Joseph Farbrook, Scott Glushien, Michael Hachey, John o'Reilly, yana Payusova, Jon Petro, terri Priest and Jim tellin will grace its sparkling walls. "Scratching the Surface" was curated by photographer Jonathan lucas, who said, "This multi-media show of painting, photography, video, sculpture and drawing, brings together artists who are concerned with precarious relationships. Whether the works presented depict tensions of one individual to another, one to one's self, or the medium to itself, the deeper the exploration, the more conflicts and questions arise." </p>"Spring love is In the Air" and at the Gallery at 17 Peck in Providence's Financial District from April 17 through May 9. These works by Daniel Kelley, who has been together artists who are concerned with precarious relationships. Whether the works presented depict tensions of one individual to another, one to one's self, or the medium to itself, the deeper the exploration, the more conflicts and questions arise." "Spring love is In the Air" and at the Gallery at 17 Peck in Providence's Financial District from April 17 through May 9. These works by Daniel Kelley, who has been painting for almost a half-century, promise to spark something in the senses of everyone who views them. "There is a base connection which forms between works of art and the beholder," the Rhode Islander promised in his show statement. "For every work, there is a person who will find an appreciation for what the artist is trying to achieve – a communication of his statement, vision, or notion. This is the connection I hope for." </p> Brian Goslown