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08/28/2019

Dionysus Theatre Company Presents Detroit ’67

by Dominique Morisseau
directed by Gabbi Mendelsohn

CAST:

                                                                                      Chelle                                          Grace Clark

                                                                                      Bunny                                         Marie Altenor

                                                                                      Lank                                           Spencer Dunn

                                                                                      Sly                                               Maurice Clark

                                                                                      Caroline                                     Tina Parziale

September 6, 7, 13, 14, 20, & 21, 8:00pm and September 8 & 15, 2:00pm, Dionysus Theatre Company is performing Detroit ’67 at Arts Center East. Dionysus Theatre Company (DTC) has been hard at work transforming the Eureka gallery into their stage and rehearsing for their upcoming production.

Set in 1967 Detroit, sister and brother, Chelle and Lank, have reinstituted their make-shift after-hours joint in their house on Twelfth Street, with all the hottest music of the day: The Temptations, Marvin Gaye, The Miracles, Martha and the Vandellas.

Chelle and her brother are offering some distraction and good time, “just trying to make a lil’ money the best way we know how” (Morriseau. Detroit ’67, Samuel French, 2014, p.16). Of course, the after-hours joint may not exactly be legal, and the city cops have been cracking down. But Lank wants more for himself and his family. “I’m tired of […] runnin’ joints outta my basement like I got somethin’ to hide. Like the only way I can be somethin’ is underground. I’m ready to be above ground just like them white folks. Ain’t no tellin’ what Detroit could be if we was all put to good use” (Morriseau. Detroit ’67, Samuel French, 2014, p.19-20). So Lank and his friend Sly have a plan for a new joint. But “The Big Four” have been targeting the Twelfth Street Neighborhood, and things are about to come to blows.

Detroit ’67 is the first of three plays written by Morisseau, each depicting a different era in Detroit’s history (the other two are Paradise Blue, and Skeleton Crew). Morriseau includes notes in her published play:

The real riots of Detroit, more accurately known as “The Great Rebellion,” started on an early Sunday morning on July 23, 1967. Every Detroiter of my post-riot generation has heard tales of our city’s ‘used-t-bes.’ Mammas and Daddys, Grandparents, Aunts and Uncles would tell us stories of shopping at Hudsons on Woodward (our main downtown avenue). Of riding the streetcar. Of the bustling downtown that once was (and is becoming again. Please believe.). This would be followed by a head shaking or a sigh at what has become of our city since.

But the thing is, I’m a romantic. I like to re-live my parent’s memories as if they were my own. I like to see the beauty in my city and remind us of who we are, what we did, and what we have the potential to become. So this play is not necessarily a history lesson. In fact, it can’t be. . .because I’m taking a lot of liberties with the truth here. Some of these locations mentioned in the play never existed. Some of them did. However creative I am choosing to be, I am not being unfaithful to the spirit of the city or the outrage that ignited the riots.

The truth is, there were police units called the Big Four that would ride around the city and harass the Black residents. . .particularly around Twelfth Street. The truth is, Twelfth Street was considered to be a ‘seedy’ part of town. The truth is, the riots began in this very neighborhood at a time when police brutality had run far too rampant, and an after-hours joint (also called a ‘blind pig’) located above a printing shop got raided. The truth is, the city’s disenfranchised were becoming social rebels. That is the truth. . .in this play and in real life. The rest of the lines between truth and fiction are my personal playwright secrets.

But what I will say is that wherever my creativity lies, it is always rooted in the soul of the family and elders from which my stories are born. This is a love song to my family and to Detroit (Morriseau, Dominique. Detroit ’67, Oberon Books Ltd, 2013, p. 5)

Dionysus Theatre Company was founded by Gabbi Mendelsohn, an English teacher and Drama Director at Rockville High School and award-winning playwright. DTC is “a theatre company whose goal is to inspire our community and ourselves through artistic expression while working to understand and explore the human condition” (https://www.dionysustheatrecompany.org). They have produced a number of productions at Arts Center East, including Hamlet, Proof, and The Diary of Anne Frank. DTC is not afraid to challenge performers and audiences with thought-provoking subject matter.

Initially when planning this season for DTC, Gabbi considered doing A Raisin in the Sun by Lorraine Hansberry. However, after seeing Detroit ’67 at Hartford Stage, Gabbi was inspired to change her mind. “After seeing the show,” Gabbi said, “I just wanted to take it in and process it and spend time with these characters.” A Raisin in the Sun remains one of Gabbi’s favorite plays; a story centered on family relationships and a family pursuing their dreams, but Detroit ’67 embodies many of the same themes. “It goes without saying that Detroit ’67 is still super relevant today. We still live in a world struggling with prejudices and inequality, but ultimately this play is a message of perseverance and hope despite the moments when the world is against you.”

By

08/19/2019

Artist Member Spotlight: Scott E. Rhoades

What’s the Rush (Said the Turtle)

Scott E. Rhoades is a painter from Coventry, Connecticut. His work has been featured in numerous Arts Center East exhibits, including winning Best-in-Show in the Harvest & Hauntings Exhibit, fall 2018. Some of Scott’s work was also included in the Animalia Exhibit, and Scott recently had a solo exhibition at The Arts of Tolland.

Originally from Houlton, Maine, Scott spent time when he was young drawing with his mother, but did not take his first art class until high school. As a junior at Eastern Connecticut State University Scott enrolled in an art class and thereafter changed his major to art. After graduating from Eastern he earned his Master’s degree in Art Education from Central Connecticut State University. In 1975 he began a 35-year art education career in Coventry.

As a teacher, Scott worked with thousands of students over the course of his career. He looks at his time as a teacher and his time now as an active artist as two distinct phases. “I liked being an art teacher but I was more involved with activities outside of my own painting.”Now Scott paints in his studio in his own backyard. After initially looking for a lot in Maine to build a cabin, Scott settled on building a studio at his home in Coventry. “I realized the cabin could be built in my back yard and be my art studio. A great decision. I designed and built it, enjoyed the process, and it is now a part of just about every afternoon.”

Scott is a disciplined artist and sticks to a regular routine. In addition to being an artist, Scott is a long-time avid runner, and even minored in Physical Education while at Eastern. “I run first thing in the morning, then perform a job needed around the house, and then paint in the afternoon.”

Working with acrylic paints, Scott’s subjects are largely taken from nature. Many of his paintings have a classic New England feel to them, often featuring birch trees, barns, and moose. But Scott takes inspiration from his further travels as well. “When I paint, I use photographs from my travels. It makes traveling interesting as I look for painting subjects such as old barns, nature, landscapes, and other things as I go along.” Though nature isn’t his only subject: “I like to bring old black and white historic images to color and experiment with portraiture.” And Scott isn’t short on subjects to paint. “I typically start about five or six paintings at a time as I like to work in detail and I paint whatever I feel most drawn to in a particular afternoon.” He has also worked on a number of commissioned pieces, from homes and vacation spots, to portraits children and pets.

More of Scott’s work can be seen on his website.

Art You Looking at Me?

By

08/13/2019

Animalia Pet Boutique & Artisan Craft Fair

This month, Arts Center East is hosting a Pet Boutique & Artisan Craft Fair, coinciding with the Animalia Exhibit currently on display. Local artisans and crafters are selling handmade goods for pets and animal-inspired wares. Among the featured artisans are Blue Hearts Glass, Amy’s Paintings and Bookmarks, Carolann’s Corner, Nutmeg Naturals LLC, Opportunity Works CT, Last Chance Freelance, Frog Hollow Studios, GypzieGirl Designs, Whimisicalia, and more. Items include cat toys, pet-inspired glass jewelry, ceramics, stationary, handmade stuffed animals, even outfits and bandanas for your dogs. Whether you are shopping for your pet, or for the animal-lover in your life, the Pet Boutique & Artisan Craft Fair has something for you!

In addition to our over 20 artisans, information is available about American Vet Dogs, Strong Family Farm, the Vernon Historical Society, and Tankerhoosen Valley. Strong Family Farm is featuring their Fall Harvest Festival coming up in October, as well as information about how to preserve the Strong Farm pastures. The Tankerhoosen Valley table includes information for birdwatchers and dog-friendly walking trails.

Saturday, August 17, the Pet Boutique & Artisan Craft Fair is open extended hours, 10:00am–5:00pm. Sunday at 10:30am, Tao Dog Yoga will also be holding an hour-long yoga class for humans and their canine companions.

Thank you to our sponsors for helping make this possible: Behavior Unleashed LLC – Tao Dog Yoga, Bolton Veterinary Hospital, Jack Richeson & Co., Inc., Jerry’s West Hartford, Sweet Pea Natural Pet Foods Store

By

08/06/2019

ACE Artisan Shop Closure

You may have noticed the Artisan Gift Shop at Arts Center East is temporarily closed. After continued hard work and planning, we are ready to make preparations for a bigger, better, and brighter Artisan Shop! Plans are in the works to expand the Artisan Shop so we can showcase more of the community’s artisans.

Preliminary plans are being made to swap the Artisan Shop and the administrative office. This will give our artisans more space, better light, and an overall better experience of displaying and selling their work. When the Artisan Shop re-opens, it will be open not only while exhibits are in the galleries, but between exhibits as well. Shop inventory will also coincide with holiday shopping, the changing seasons, and eventually, with themed exhibits.

As for the ACE staff, our offices will move into the old Artisan Shop and adjoining closet. With a few adjustments, the ACE staff will have delineated, out-of-the-way office space, allowing Arts Center East to showcase its art, and not its paperwork.

This expansion also means we will be able to include more artisans in the shop! Artisans who are interested in displaying and selling their work in the new shop can contact the office for more information.

ACE’s 2019 Artisan Shop is supported in part by the Greater Hartford Arts Council’s United Arts Campaign with major support from the Hartford Foundation for Public Giving to better serve our local shoppers.

By

07/25/2019

Gallery Dedication

On June 29, Dr. Ellen Marmer celebrated her 80th birthday. To honor her dedication, vision, and commitment to Arts Center East and the Vernon Community, the ACE board of directors unanimously voted to rename our main gallery space after Dr. Marmer.

If you would like to join us in honoring Dr. Marmer, you can make your donation using the donation button below.

Please visit the new Dr. Ellen L. Marmer Gallery soon!

Exhibits Calendar

< 2020 >
February
Month
Month
List
Week
Day
SMTuWThFS
      1

  • 1:00 pm-5:00 pm
    02/01/2020

    Arts Center East is celebrating all forms of wearable art! From textiles to jewelry to hats and jackets. See this one-of-a-kind exhibit while it’s on display!

    Exhibit Dates: January 19–February 8
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Sponsored by

     

    Exhibit juror, Fran Curran is the Creative Director and chairman of the Board of the Artisan Weaving Center. She grew up in England and has a degree in Texitile design and painting. On coming to the USA she attended Wesleyan University Ct with a concentration in printmaking. Her passion turned to weaving and she taught weaving at Wesleyan Potters for 25 years and also many workshops and classes throughout New England. In 2008 along with other weavers she opened the Hartford Artisan Weaving Center in Hartford CT. She has exhibited widely and been awarded Weaver of distinction status by both the Handweavers Guild of Ct and the New England Weavers Seminar.

    Exhibit juror, Autumn Kasan is a Connecticut-based designer specializing in luxurious shoes that re hand-sculpted by American master artisans, bringing high-end, European-style craftsmanship back to the U.S. Autumn designed and constructed her first shoe in kindergarten, and created her first necklace in elementary school.  Her parents encouraged her passion for design, creative arts and fashion throughout her childhood, which led to her Bachelor of Applied Arts in Apparel Merchandising & Design along with a double major in Entrepreneurship.

    After college, Autumn interned as a design assistant to a luxury clothing designer and style assistant for celebrity stylists. She also spent several years learning the art of making shoes, taking shoe design courses and hand-making shoes and jewelry. She expanded her knowledge of leather goods and jewelry design, while discerning the distinctions between what’s trendy and what’s classic in the luxury market.

    Autumn is founder of AutumnMarie.com, an online boutique inspired by her mother Phyllis Marie, that offers a curated collection of jewelry, accessories, gifts, and home items handcrafted by makers and artisans across the globe.

2345

  • 1:00 pm-5:00 pm
    02/05/2020

    Arts Center East is celebrating all forms of wearable art! From textiles to jewelry to hats and jackets. See this one-of-a-kind exhibit while it’s on display!

    Exhibit Dates: January 19–February 8
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Sponsored by

     

    Exhibit juror, Fran Curran is the Creative Director and chairman of the Board of the Artisan Weaving Center. She grew up in England and has a degree in Texitile design and painting. On coming to the USA she attended Wesleyan University Ct with a concentration in printmaking. Her passion turned to weaving and she taught weaving at Wesleyan Potters for 25 years and also many workshops and classes throughout New England. In 2008 along with other weavers she opened the Hartford Artisan Weaving Center in Hartford CT. She has exhibited widely and been awarded Weaver of distinction status by both the Handweavers Guild of Ct and the New England Weavers Seminar.

    Exhibit juror, Autumn Kasan is a Connecticut-based designer specializing in luxurious shoes that re hand-sculpted by American master artisans, bringing high-end, European-style craftsmanship back to the U.S. Autumn designed and constructed her first shoe in kindergarten, and created her first necklace in elementary school.  Her parents encouraged her passion for design, creative arts and fashion throughout her childhood, which led to her Bachelor of Applied Arts in Apparel Merchandising & Design along with a double major in Entrepreneurship.

    After college, Autumn interned as a design assistant to a luxury clothing designer and style assistant for celebrity stylists. She also spent several years learning the art of making shoes, taking shoe design courses and hand-making shoes and jewelry. She expanded her knowledge of leather goods and jewelry design, while discerning the distinctions between what’s trendy and what’s classic in the luxury market.

    Autumn is founder of AutumnMarie.com, an online boutique inspired by her mother Phyllis Marie, that offers a curated collection of jewelry, accessories, gifts, and home items handcrafted by makers and artisans across the globe.

6

  • 1:00 pm-5:00 pm
    02/06/2020

    Arts Center East is celebrating all forms of wearable art! From textiles to jewelry to hats and jackets. See this one-of-a-kind exhibit while it’s on display!

    Exhibit Dates: January 19–February 8
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Sponsored by

     

    Exhibit juror, Fran Curran is the Creative Director and chairman of the Board of the Artisan Weaving Center. She grew up in England and has a degree in Texitile design and painting. On coming to the USA she attended Wesleyan University Ct with a concentration in printmaking. Her passion turned to weaving and she taught weaving at Wesleyan Potters for 25 years and also many workshops and classes throughout New England. In 2008 along with other weavers she opened the Hartford Artisan Weaving Center in Hartford CT. She has exhibited widely and been awarded Weaver of distinction status by both the Handweavers Guild of Ct and the New England Weavers Seminar.

    Exhibit juror, Autumn Kasan is a Connecticut-based designer specializing in luxurious shoes that re hand-sculpted by American master artisans, bringing high-end, European-style craftsmanship back to the U.S. Autumn designed and constructed her first shoe in kindergarten, and created her first necklace in elementary school.  Her parents encouraged her passion for design, creative arts and fashion throughout her childhood, which led to her Bachelor of Applied Arts in Apparel Merchandising & Design along with a double major in Entrepreneurship.

    After college, Autumn interned as a design assistant to a luxury clothing designer and style assistant for celebrity stylists. She also spent several years learning the art of making shoes, taking shoe design courses and hand-making shoes and jewelry. She expanded her knowledge of leather goods and jewelry design, while discerning the distinctions between what’s trendy and what’s classic in the luxury market.

    Autumn is founder of AutumnMarie.com, an online boutique inspired by her mother Phyllis Marie, that offers a curated collection of jewelry, accessories, gifts, and home items handcrafted by makers and artisans across the globe.

7

  • 1:00 pm-5:00 pm
    02/07/2020

    Arts Center East is celebrating all forms of wearable art! From textiles to jewelry to hats and jackets. See this one-of-a-kind exhibit while it’s on display!

    Exhibit Dates: January 19–February 8
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Sponsored by

     

    Exhibit juror, Fran Curran is the Creative Director and chairman of the Board of the Artisan Weaving Center. She grew up in England and has a degree in Texitile design and painting. On coming to the USA she attended Wesleyan University Ct with a concentration in printmaking. Her passion turned to weaving and she taught weaving at Wesleyan Potters for 25 years and also many workshops and classes throughout New England. In 2008 along with other weavers she opened the Hartford Artisan Weaving Center in Hartford CT. She has exhibited widely and been awarded Weaver of distinction status by both the Handweavers Guild of Ct and the New England Weavers Seminar.

    Exhibit juror, Autumn Kasan is a Connecticut-based designer specializing in luxurious shoes that re hand-sculpted by American master artisans, bringing high-end, European-style craftsmanship back to the U.S. Autumn designed and constructed her first shoe in kindergarten, and created her first necklace in elementary school.  Her parents encouraged her passion for design, creative arts and fashion throughout her childhood, which led to her Bachelor of Applied Arts in Apparel Merchandising & Design along with a double major in Entrepreneurship.

    After college, Autumn interned as a design assistant to a luxury clothing designer and style assistant for celebrity stylists. She also spent several years learning the art of making shoes, taking shoe design courses and hand-making shoes and jewelry. She expanded her knowledge of leather goods and jewelry design, while discerning the distinctions between what’s trendy and what’s classic in the luxury market.

    Autumn is founder of AutumnMarie.com, an online boutique inspired by her mother Phyllis Marie, that offers a curated collection of jewelry, accessories, gifts, and home items handcrafted by makers and artisans across the globe.

8

  • 1:00 pm-5:00 pm
    02/08/2020

    Arts Center East is celebrating all forms of wearable art! From textiles to jewelry to hats and jackets. See this one-of-a-kind exhibit while it’s on display!

    Exhibit Dates: January 19–February 8
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Sponsored by

     

    Exhibit juror, Fran Curran is the Creative Director and chairman of the Board of the Artisan Weaving Center. She grew up in England and has a degree in Texitile design and painting. On coming to the USA she attended Wesleyan University Ct with a concentration in printmaking. Her passion turned to weaving and she taught weaving at Wesleyan Potters for 25 years and also many workshops and classes throughout New England. In 2008 along with other weavers she opened the Hartford Artisan Weaving Center in Hartford CT. She has exhibited widely and been awarded Weaver of distinction status by both the Handweavers Guild of Ct and the New England Weavers Seminar.

    Exhibit juror, Autumn Kasan is a Connecticut-based designer specializing in luxurious shoes that re hand-sculpted by American master artisans, bringing high-end, European-style craftsmanship back to the U.S. Autumn designed and constructed her first shoe in kindergarten, and created her first necklace in elementary school.  Her parents encouraged her passion for design, creative arts and fashion throughout her childhood, which led to her Bachelor of Applied Arts in Apparel Merchandising & Design along with a double major in Entrepreneurship.

    After college, Autumn interned as a design assistant to a luxury clothing designer and style assistant for celebrity stylists. She also spent several years learning the art of making shoes, taking shoe design courses and hand-making shoes and jewelry. She expanded her knowledge of leather goods and jewelry design, while discerning the distinctions between what’s trendy and what’s classic in the luxury market.

    Autumn is founder of AutumnMarie.com, an online boutique inspired by her mother Phyllis Marie, that offers a curated collection of jewelry, accessories, gifts, and home items handcrafted by makers and artisans across the globe.

910111213

  • 3:42 pm-6:00 pm
    02/13/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

14

  • 3:42 pm-6:00 pm
    02/14/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

15

  • 3:42 pm-6:00 pm
    02/15/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

16

  • 10:00 am-2:00 pm
    02/16/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

171819202122
23

  • 12:00 pm-2:00 pm
    02/23/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00pm–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

    Sponsored by

    About the Jurors

    Exhibit juror Ellen Carey is an educator, independent scholar, guest curator, photographer and lens-based artist, whose unique experimental work (1974-2018) spans several decades. Her early work Painted Self-Portraits (1978) were first exhibited at Hallwalls, one of the first artists-run alternative space, home to the Buffalo avant-garde — Robert Longo and Cindy Sherman — and led to a group exhibit The Altered Photograph at PS 1, another avant-garde institution. The visionary curator, Linda Cathcart, Albright-Knox Art Gallery (AKAG) selected Carey’s work for this exhibition as well as The Heroic Figure, which presented thirteen American artists for the São Paulo Biennale including: Cindy Sherman, Nancy Dwyer, Julian Schnabel and David Salle, portraits by Robert Mapplethorpe; South/North American tour (1984-1986).

    In 1983, The Polaroid Artists Support Program invited Carey to work at the Polaroid 20 X 24 Studio. Her Neo-Geo, post-psychedelic Self-Portraits (1984-88) were created, followed by her stacked photo-installations Abstractions (1988-95). Her pioneering breakthrough in Polaroid sees her Pull (1996) fol-lowed by her Rollback (1997) naming her Polaroid practice Photography Degree Zero (1996-2018). She investigates minimal and abstract images with Polaroid’s instant technology partnered with her innovative concepts, often using only light, photography’s indexical, or none, emphasizing zero. Her photogram work is darkroom-based and camera-less; it parallels her Polaroid less-is-more aesthetic under her umbrella con-cept Struck by Light (1992-2018). When Carey works in the color darkroom, no light is allowed except upon exposure. Carey has worked in a variety of cameras and formats: Polaroid SX-70 and Polaroid PN film; black/white to color; 35mm, medium, and large format. Her experimental images see a range of gen-res and themes; they are one-of-a-kind. Underscored by concepts around light, photography’s indexical and properties specific to the medium – silhouette; shadow; negative – in color, Carey often uses RGBYMC, photographic color theory, as a point-of-departure in palette, adding context and content, citing the history of color photography, especially the work of Anna Atkins, the first women photographer, the first in color.

    Site-specific monumental installations in Polaroid include Mourning Wall of 100 grey negatives at Real Art Ways (2000), also exhibited in Part-Picture (2015) at The Museum of Canadian Contemporary Art (MoCCA); Self-Portrait @ 48 at Connecticut Commission for the Arts (2001); the gigantic Pulls XL that used the Polaroid 40 X 80 camera (shortly dismantled, never re-assembled) for her MATRIX #153 exhibit (2004-05) at The Wadsworth Atheneum Museum of Art (www.wadsworthatheneum.org) in their prestig-ious MATRIX program. Dings & Shadowsare often huge color photogram installations, one seen at The Benton Museum of Art, another at Florida Atlantic University (FAU). Caesura (2016) is a photogram that introduces visual breaks in color; caesura is Greek or Latin for pause: in word (poetry) or sound (music). Her images use color theory — RGBYMC — as palette and conceptual point-of-departure, using light, photography’s indexical, as it — blends, bends, breaks — across the paper. What remains are vertical bands, dividing the rectangle in half, white is the break or pause, in the composition; its “ caesura” or cut, dramatic black signals too much light, colors overlap as well. Zerogram re-names the traditional photo-gram; many published in her first artist’s book “Mirrors of Chance: The Photograms of Ellen Carey”.

    Photography Degree Zero (1996-2018) names her large format Polaroid 20 X 24 lens-based art, which she began using in 1983 under the Polaroid Artist Support Program. Struck by Light (1992-2018) finds her parallel practice in the darkroom with the camera-less photogram, a process from the dawn of the medium, discovered in the 19th century by William Henry Fox Talbot, both photogram and the phrase drawing with light continue today. Her experimental investigations into abstraction and minimalism, partnered with her innovative concepts and iconoclastic art making, often use bold colors to create new forms. Color and light is the link between her two practices; light, photography’s indexical, is used a lot or a little or none at all; its absence or zero.

    Pictus & Writ (2008-2018) finds the artist’s tradition of writing on other artists. Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA, with Yale University Press, published the book Sol LeWitt:100 Views with 100 new essays; Color Me Real is Ellen Carey’s contribution. Her Man Ray essay on her discovery of his “hidden” signature in his black and white photograph (1935) titled Space Writings (Self-Portrait) sees an edited version At Play with Man Ray published in Aperture. On her own work In Hamlet’s Shadow, published in The Polaroid Years: Instant Photography and Experimentation exhibit/book/tour (2012-13); Mary-Kay Lombino, Curator, Lehman Loeb Art Center, Vassar College.

    Ellen Carey’s work has been the subject of 55 one-person exhibitions in museums, alternative spaces, uni-versity, college and commercial galleries (1978-2018) – highlights: Dings, Shadows and Pulls, Amon Carter Museum of American Art (ACMAA); Photography Degree ZeroMatrix#153 Wadsworth Athene-um Museum of Art; Mourning Wall Real Art Ways; femme brut(e) Lyman Allyn Art Museum; Struck by Light Saint Joseph University; Ellen Carey: SurveyICP/NY; upcoming retrospective titled Struck by Light: The Experimental Photography of Ellen Carey, Burchfield – Penney Art Center (BPAC), received funding (30K) from Andy Warhol Foundation for the Visual Arts (NY, NY) for 2020.

    Her work seen in hundreds of group exhibitions (1974-2020) in museums, alternative spaces, university and college galleries, non-profits and commercial venues; highlighted in permanent collections of over 60 photography and art museums: The Albright-Knox Art Gallery (AKAG), The Amon Carter Museum of American Art (ACMAA), George Eastman Museum (GEM), Museum at the Chicago Art Institute, Fogg Museum at Harvard University, Los Angeles County Museum of Art (LACMA), Metropolitan Museum of Art, New Britain Museum of American Art (NBMAA), Norton Museum of Art, Smithsonian American Art Museum (SAAM), Whitney Museum of American Art, Wadsworth Atheneum Museum of Art, Yale Uni-versity Art Gallery while corporate collections include: Banana Republic and JP Morgan Chase Collection; noted private include: The LeWitt Foundation and Sir Elton John Collection. Exhibitions, solo and group, include: books, catalogues, brochures, artist talks, reviews, lectures etc: www.ellencareyphotography.com.

     

    Exhibit juror Rita Lombardi is currently the Visiting Assistant Professor of Photography at the University of Connecticut and resides in Providence, Rhode Island. She received her MFA from The University of Connecticut and her BFA from Massachusetts College of Art and Design.

    She has been the recipient of grants and scholarships, including the Innovative Teaching grant from the Wellin Museum, travel grants from the University of Connecticut and the Massachusetts College of Art and Design, was the recipient of the John Renna Arts Scholarship, National Endowment for the Arts. She was an artist-in-residence at the School of Visual Arts in NY and at the Wadsworth Atheneum Museum of Art in Hartford, CT.

    Her work has been in solo exhibits at the Munson Williams Proctor Art Museum, the Cogar Gallery, the Spirol Gallery, and the Dirt Palace as well as group shows in museums and galleries nationally; Los Angeles, New York, Boston, Louisville, and throughout New England.

    She has been published in both print and online publications, including F-Stop Magazine, The Curated Fridge, Afield Magazine, Redivider Literary Journal, and Blank Canvas Magazine. Her photographs can be found in private and public collections and is represented in the Boston Drawing Project flat files.

  • 12:00 pm-2:00 pm
    02/23/2020

    Eureka Gallery
    The Artwork of Steven Uccello.

    Opening Reception:February 23, 12:00–2:00pm
    Exhibit Dates:     February  23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Falling Shadows by Steven Uccello

    I think of What Leaves, What Remains as a homage to classic stories of growing up, self-discovery, and running away. I centered my lens not only on the individual but the places around them; both when they are present and absent. I wandered away from a purely linear storyline because, like trying to remember our own past experiences, our memories ebb and flow between the vivid and the fragmented. I find that, in recalling my own past, the strongest imagery can sometimes be the most commonplace scenes that are simply recontextualized in the moment.

    Different photographic techniques, mediums, and genres also aid in encapsulating memory and one’s own thoughts. The series includes landscape photography, architectural photography, surveillance, postcards, intimate Polaroids, still lives, and even forensic photography. By keeping myself open to all these possible strategies I find it builds out the world and ideas I want to showcase.

    We all had to grow up and find ourselves. To some, being themselves may have felt like an insurmountable achievement. My goal for the series is to enable the audience to empathize with the character. Even if our experiences of becoming an adult differ from one another, art and storytelling form a language to understand other people’s own lives.

     

242526

  • 1:00 pm
    02/26/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00pm–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

    Sponsored by

    About the Jurors

    Exhibit juror Ellen Carey is an educator, independent scholar, guest curator, photographer and lens-based artist, whose unique experimental work (1974-2018) spans several decades. Her early work Painted Self-Portraits (1978) were first exhibited at Hallwalls, one of the first artists-run alternative space, home to the Buffalo avant-garde — Robert Longo and Cindy Sherman — and led to a group exhibit The Altered Photograph at PS 1, another avant-garde institution. The visionary curator, Linda Cathcart, Albright-Knox Art Gallery (AKAG) selected Carey’s work for this exhibition as well as The Heroic Figure, which presented thirteen American artists for the São Paulo Biennale including: Cindy Sherman, Nancy Dwyer, Julian Schnabel and David Salle, portraits by Robert Mapplethorpe; South/North American tour (1984-1986).

    In 1983, The Polaroid Artists Support Program invited Carey to work at the Polaroid 20 X 24 Studio. Her Neo-Geo, post-psychedelic Self-Portraits (1984-88) were created, followed by her stacked photo-installations Abstractions (1988-95). Her pioneering breakthrough in Polaroid sees her Pull (1996) fol-lowed by her Rollback (1997) naming her Polaroid practice Photography Degree Zero (1996-2018). She investigates minimal and abstract images with Polaroid’s instant technology partnered with her innovative concepts, often using only light, photography’s indexical, or none, emphasizing zero. Her photogram work is darkroom-based and camera-less; it parallels her Polaroid less-is-more aesthetic under her umbrella con-cept Struck by Light (1992-2018). When Carey works in the color darkroom, no light is allowed except upon exposure. Carey has worked in a variety of cameras and formats: Polaroid SX-70 and Polaroid PN film; black/white to color; 35mm, medium, and large format. Her experimental images see a range of gen-res and themes; they are one-of-a-kind. Underscored by concepts around light, photography’s indexical and properties specific to the medium – silhouette; shadow; negative – in color, Carey often uses RGBYMC, photographic color theory, as a point-of-departure in palette, adding context and content, citing the history of color photography, especially the work of Anna Atkins, the first women photographer, the first in color.

    Site-specific monumental installations in Polaroid include Mourning Wall of 100 grey negatives at Real Art Ways (2000), also exhibited in Part-Picture (2015) at The Museum of Canadian Contemporary Art (MoCCA); Self-Portrait @ 48 at Connecticut Commission for the Arts (2001); the gigantic Pulls XL that used the Polaroid 40 X 80 camera (shortly dismantled, never re-assembled) for her MATRIX #153 exhibit (2004-05) at The Wadsworth Atheneum Museum of Art (www.wadsworthatheneum.org) in their prestig-ious MATRIX program. Dings & Shadowsare often huge color photogram installations, one seen at The Benton Museum of Art, another at Florida Atlantic University (FAU). Caesura (2016) is a photogram that introduces visual breaks in color; caesura is Greek or Latin for pause: in word (poetry) or sound (music). Her images use color theory — RGBYMC — as palette and conceptual point-of-departure, using light, photography’s indexical, as it — blends, bends, breaks — across the paper. What remains are vertical bands, dividing the rectangle in half, white is the break or pause, in the composition; its “ caesura” or cut, dramatic black signals too much light, colors overlap as well. Zerogram re-names the traditional photo-gram; many published in her first artist’s book “Mirrors of Chance: The Photograms of Ellen Carey”.

    Photography Degree Zero (1996-2018) names her large format Polaroid 20 X 24 lens-based art, which she began using in 1983 under the Polaroid Artist Support Program. Struck by Light (1992-2018) finds her parallel practice in the darkroom with the camera-less photogram, a process from the dawn of the medium, discovered in the 19th century by William Henry Fox Talbot, both photogram and the phrase drawing with light continue today. Her experimental investigations into abstraction and minimalism, partnered with her innovative concepts and iconoclastic art making, often use bold colors to create new forms. Color and light is the link between her two practices; light, photography’s indexical, is used a lot or a little or none at all; its absence or zero.

    Pictus & Writ (2008-2018) finds the artist’s tradition of writing on other artists. Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA, with Yale University Press, published the book Sol LeWitt:100 Views with 100 new essays; Color Me Real is Ellen Carey’s contribution. Her Man Ray essay on her discovery of his “hidden” signature in his black and white photograph (1935) titled Space Writings (Self-Portrait) sees an edited version At Play with Man Ray published in Aperture. On her own work In Hamlet’s Shadow, published in The Polaroid Years: Instant Photography and Experimentation exhibit/book/tour (2012-13); Mary-Kay Lombino, Curator, Lehman Loeb Art Center, Vassar College.

    Ellen Carey’s work has been the subject of 55 one-person exhibitions in museums, alternative spaces, uni-versity, college and commercial galleries (1978-2018) – highlights: Dings, Shadows and Pulls, Amon Carter Museum of American Art (ACMAA); Photography Degree ZeroMatrix#153 Wadsworth Athene-um Museum of Art; Mourning Wall Real Art Ways; femme brut(e) Lyman Allyn Art Museum; Struck by Light Saint Joseph University; Ellen Carey: SurveyICP/NY; upcoming retrospective titled Struck by Light: The Experimental Photography of Ellen Carey, Burchfield – Penney Art Center (BPAC), received funding (30K) from Andy Warhol Foundation for the Visual Arts (NY, NY) for 2020.

    Her work seen in hundreds of group exhibitions (1974-2020) in museums, alternative spaces, university and college galleries, non-profits and commercial venues; highlighted in permanent collections of over 60 photography and art museums: The Albright-Knox Art Gallery (AKAG), The Amon Carter Museum of American Art (ACMAA), George Eastman Museum (GEM), Museum at the Chicago Art Institute, Fogg Museum at Harvard University, Los Angeles County Museum of Art (LACMA), Metropolitan Museum of Art, New Britain Museum of American Art (NBMAA), Norton Museum of Art, Smithsonian American Art Museum (SAAM), Whitney Museum of American Art, Wadsworth Atheneum Museum of Art, Yale Uni-versity Art Gallery while corporate collections include: Banana Republic and JP Morgan Chase Collection; noted private include: The LeWitt Foundation and Sir Elton John Collection. Exhibitions, solo and group, include: books, catalogues, brochures, artist talks, reviews, lectures etc: www.ellencareyphotography.com.

     

    Exhibit juror Rita Lombardi is currently the Visiting Assistant Professor of Photography at the University of Connecticut and resides in Providence, Rhode Island. She received her MFA from The University of Connecticut and her BFA from Massachusetts College of Art and Design.

    She has been the recipient of grants and scholarships, including the Innovative Teaching grant from the Wellin Museum, travel grants from the University of Connecticut and the Massachusetts College of Art and Design, was the recipient of the John Renna Arts Scholarship, National Endowment for the Arts. She was an artist-in-residence at the School of Visual Arts in NY and at the Wadsworth Atheneum Museum of Art in Hartford, CT.

    Her work has been in solo exhibits at the Munson Williams Proctor Art Museum, the Cogar Gallery, the Spirol Gallery, and the Dirt Palace as well as group shows in museums and galleries nationally; Los Angeles, New York, Boston, Louisville, and throughout New England.

    She has been published in both print and online publications, including F-Stop Magazine, The Curated Fridge, Afield Magazine, Redivider Literary Journal, and Blank Canvas Magazine. Her photographs can be found in private and public collections and is represented in the Boston Drawing Project flat files.

  • 1:00 pm-5:00 pm
    02/26/2020

    Eureka Gallery
    The Artwork of Steven Uccello.

    Opening Reception: Sunday, February 23, 12:00–2:00pm
    Exhibit Dates:     February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Falling Shadows by Steven Uccello

    I think of What Leaves, What Remains as a homage to classic stories of growing up, self-discovery, and running away. I centered my lens not only on the individual but the places around them; both when they are present and absent. I wandered away from a purely linear storyline because, like trying to remember our own past experiences, our memories ebb and flow between the vivid and the fragmented. I find that, in recalling my own past, the strongest imagery can sometimes be the most commonplace scenes that are simply recontextualized in the moment.

    Different photographic techniques, mediums, and genres also aid in encapsulating memory and one’s own thoughts. The series includes landscape photography, architectural photography, surveillance, postcards, intimate Polaroids, still lives, and even forensic photography. By keeping myself open to all these possible strategies I find it builds out the world and ideas I want to showcase.

    We all had to grow up and find ourselves. To some, being themselves may have felt like an insurmountable achievement. My goal for the series is to enable the audience to empathize with the character. Even if our experiences of becoming an adult differ from one another, art and storytelling form a language to understand other people’s own lives.

     

27

  • 1:00 pm
    02/27/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00pm–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

    Sponsored by

    About the Jurors

    Exhibit juror Ellen Carey is an educator, independent scholar, guest curator, photographer and lens-based artist, whose unique experimental work (1974-2018) spans several decades. Her early work Painted Self-Portraits (1978) were first exhibited at Hallwalls, one of the first artists-run alternative space, home to the Buffalo avant-garde — Robert Longo and Cindy Sherman — and led to a group exhibit The Altered Photograph at PS 1, another avant-garde institution. The visionary curator, Linda Cathcart, Albright-Knox Art Gallery (AKAG) selected Carey’s work for this exhibition as well as The Heroic Figure, which presented thirteen American artists for the São Paulo Biennale including: Cindy Sherman, Nancy Dwyer, Julian Schnabel and David Salle, portraits by Robert Mapplethorpe; South/North American tour (1984-1986).

    In 1983, The Polaroid Artists Support Program invited Carey to work at the Polaroid 20 X 24 Studio. Her Neo-Geo, post-psychedelic Self-Portraits (1984-88) were created, followed by her stacked photo-installations Abstractions (1988-95). Her pioneering breakthrough in Polaroid sees her Pull (1996) fol-lowed by her Rollback (1997) naming her Polaroid practice Photography Degree Zero (1996-2018). She investigates minimal and abstract images with Polaroid’s instant technology partnered with her innovative concepts, often using only light, photography’s indexical, or none, emphasizing zero. Her photogram work is darkroom-based and camera-less; it parallels her Polaroid less-is-more aesthetic under her umbrella con-cept Struck by Light (1992-2018). When Carey works in the color darkroom, no light is allowed except upon exposure. Carey has worked in a variety of cameras and formats: Polaroid SX-70 and Polaroid PN film; black/white to color; 35mm, medium, and large format. Her experimental images see a range of gen-res and themes; they are one-of-a-kind. Underscored by concepts around light, photography’s indexical and properties specific to the medium – silhouette; shadow; negative – in color, Carey often uses RGBYMC, photographic color theory, as a point-of-departure in palette, adding context and content, citing the history of color photography, especially the work of Anna Atkins, the first women photographer, the first in color.

    Site-specific monumental installations in Polaroid include Mourning Wall of 100 grey negatives at Real Art Ways (2000), also exhibited in Part-Picture (2015) at The Museum of Canadian Contemporary Art (MoCCA); Self-Portrait @ 48 at Connecticut Commission for the Arts (2001); the gigantic Pulls XL that used the Polaroid 40 X 80 camera (shortly dismantled, never re-assembled) for her MATRIX #153 exhibit (2004-05) at The Wadsworth Atheneum Museum of Art (www.wadsworthatheneum.org) in their prestig-ious MATRIX program. Dings & Shadowsare often huge color photogram installations, one seen at The Benton Museum of Art, another at Florida Atlantic University (FAU). Caesura (2016) is a photogram that introduces visual breaks in color; caesura is Greek or Latin for pause: in word (poetry) or sound (music). Her images use color theory — RGBYMC — as palette and conceptual point-of-departure, using light, photography’s indexical, as it — blends, bends, breaks — across the paper. What remains are vertical bands, dividing the rectangle in half, white is the break or pause, in the composition; its “ caesura” or cut, dramatic black signals too much light, colors overlap as well. Zerogram re-names the traditional photo-gram; many published in her first artist’s book “Mirrors of Chance: The Photograms of Ellen Carey”.

    Photography Degree Zero (1996-2018) names her large format Polaroid 20 X 24 lens-based art, which she began using in 1983 under the Polaroid Artist Support Program. Struck by Light (1992-2018) finds her parallel practice in the darkroom with the camera-less photogram, a process from the dawn of the medium, discovered in the 19th century by William Henry Fox Talbot, both photogram and the phrase drawing with light continue today. Her experimental investigations into abstraction and minimalism, partnered with her innovative concepts and iconoclastic art making, often use bold colors to create new forms. Color and light is the link between her two practices; light, photography’s indexical, is used a lot or a little or none at all; its absence or zero.

    Pictus & Writ (2008-2018) finds the artist’s tradition of writing on other artists. Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA, with Yale University Press, published the book Sol LeWitt:100 Views with 100 new essays; Color Me Real is Ellen Carey’s contribution. Her Man Ray essay on her discovery of his “hidden” signature in his black and white photograph (1935) titled Space Writings (Self-Portrait) sees an edited version At Play with Man Ray published in Aperture. On her own work In Hamlet’s Shadow, published in The Polaroid Years: Instant Photography and Experimentation exhibit/book/tour (2012-13); Mary-Kay Lombino, Curator, Lehman Loeb Art Center, Vassar College.

    Ellen Carey’s work has been the subject of 55 one-person exhibitions in museums, alternative spaces, uni-versity, college and commercial galleries (1978-2018) – highlights: Dings, Shadows and Pulls, Amon Carter Museum of American Art (ACMAA); Photography Degree ZeroMatrix#153 Wadsworth Athene-um Museum of Art; Mourning Wall Real Art Ways; femme brut(e) Lyman Allyn Art Museum; Struck by Light Saint Joseph University; Ellen Carey: SurveyICP/NY; upcoming retrospective titled Struck by Light: The Experimental Photography of Ellen Carey, Burchfield – Penney Art Center (BPAC), received funding (30K) from Andy Warhol Foundation for the Visual Arts (NY, NY) for 2020.

    Her work seen in hundreds of group exhibitions (1974-2020) in museums, alternative spaces, university and college galleries, non-profits and commercial venues; highlighted in permanent collections of over 60 photography and art museums: The Albright-Knox Art Gallery (AKAG), The Amon Carter Museum of American Art (ACMAA), George Eastman Museum (GEM), Museum at the Chicago Art Institute, Fogg Museum at Harvard University, Los Angeles County Museum of Art (LACMA), Metropolitan Museum of Art, New Britain Museum of American Art (NBMAA), Norton Museum of Art, Smithsonian American Art Museum (SAAM), Whitney Museum of American Art, Wadsworth Atheneum Museum of Art, Yale Uni-versity Art Gallery while corporate collections include: Banana Republic and JP Morgan Chase Collection; noted private include: The LeWitt Foundation and Sir Elton John Collection. Exhibitions, solo and group, include: books, catalogues, brochures, artist talks, reviews, lectures etc: www.ellencareyphotography.com.

     

    Exhibit juror Rita Lombardi is currently the Visiting Assistant Professor of Photography at the University of Connecticut and resides in Providence, Rhode Island. She received her MFA from The University of Connecticut and her BFA from Massachusetts College of Art and Design.

    She has been the recipient of grants and scholarships, including the Innovative Teaching grant from the Wellin Museum, travel grants from the University of Connecticut and the Massachusetts College of Art and Design, was the recipient of the John Renna Arts Scholarship, National Endowment for the Arts. She was an artist-in-residence at the School of Visual Arts in NY and at the Wadsworth Atheneum Museum of Art in Hartford, CT.

    Her work has been in solo exhibits at the Munson Williams Proctor Art Museum, the Cogar Gallery, the Spirol Gallery, and the Dirt Palace as well as group shows in museums and galleries nationally; Los Angeles, New York, Boston, Louisville, and throughout New England.

    She has been published in both print and online publications, including F-Stop Magazine, The Curated Fridge, Afield Magazine, Redivider Literary Journal, and Blank Canvas Magazine. Her photographs can be found in private and public collections and is represented in the Boston Drawing Project flat files.

  • 1:00 pm-5:00 pm
    02/27/2020

    Eureka Gallery
    The Artwork of Steven Uccello.

    Opening Reception: Sunday, February 23, 12:00–2:00pm
    Exhibit Dates:     February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Falling Shadows by Steven Uccello

    I think of What Leaves, What Remains as a homage to classic stories of growing up, self-discovery, and running away. I centered my lens not only on the individual but the places around them; both when they are present and absent. I wandered away from a purely linear storyline because, like trying to remember our own past experiences, our memories ebb and flow between the vivid and the fragmented. I find that, in recalling my own past, the strongest imagery can sometimes be the most commonplace scenes that are simply recontextualized in the moment.

    Different photographic techniques, mediums, and genres also aid in encapsulating memory and one’s own thoughts. The series includes landscape photography, architectural photography, surveillance, postcards, intimate Polaroids, still lives, and even forensic photography. By keeping myself open to all these possible strategies I find it builds out the world and ideas I want to showcase.

    We all had to grow up and find ourselves. To some, being themselves may have felt like an insurmountable achievement. My goal for the series is to enable the audience to empathize with the character. Even if our experiences of becoming an adult differ from one another, art and storytelling form a language to understand other people’s own lives.

     

28

  • 1:00 pm
    02/28/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00pm–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

    Sponsored by

    About the Jurors

    Exhibit juror Ellen Carey is an educator, independent scholar, guest curator, photographer and lens-based artist, whose unique experimental work (1974-2018) spans several decades. Her early work Painted Self-Portraits (1978) were first exhibited at Hallwalls, one of the first artists-run alternative space, home to the Buffalo avant-garde — Robert Longo and Cindy Sherman — and led to a group exhibit The Altered Photograph at PS 1, another avant-garde institution. The visionary curator, Linda Cathcart, Albright-Knox Art Gallery (AKAG) selected Carey’s work for this exhibition as well as The Heroic Figure, which presented thirteen American artists for the São Paulo Biennale including: Cindy Sherman, Nancy Dwyer, Julian Schnabel and David Salle, portraits by Robert Mapplethorpe; South/North American tour (1984-1986).

    In 1983, The Polaroid Artists Support Program invited Carey to work at the Polaroid 20 X 24 Studio. Her Neo-Geo, post-psychedelic Self-Portraits (1984-88) were created, followed by her stacked photo-installations Abstractions (1988-95). Her pioneering breakthrough in Polaroid sees her Pull (1996) fol-lowed by her Rollback (1997) naming her Polaroid practice Photography Degree Zero (1996-2018). She investigates minimal and abstract images with Polaroid’s instant technology partnered with her innovative concepts, often using only light, photography’s indexical, or none, emphasizing zero. Her photogram work is darkroom-based and camera-less; it parallels her Polaroid less-is-more aesthetic under her umbrella con-cept Struck by Light (1992-2018). When Carey works in the color darkroom, no light is allowed except upon exposure. Carey has worked in a variety of cameras and formats: Polaroid SX-70 and Polaroid PN film; black/white to color; 35mm, medium, and large format. Her experimental images see a range of gen-res and themes; they are one-of-a-kind. Underscored by concepts around light, photography’s indexical and properties specific to the medium – silhouette; shadow; negative – in color, Carey often uses RGBYMC, photographic color theory, as a point-of-departure in palette, adding context and content, citing the history of color photography, especially the work of Anna Atkins, the first women photographer, the first in color.

    Site-specific monumental installations in Polaroid include Mourning Wall of 100 grey negatives at Real Art Ways (2000), also exhibited in Part-Picture (2015) at The Museum of Canadian Contemporary Art (MoCCA); Self-Portrait @ 48 at Connecticut Commission for the Arts (2001); the gigantic Pulls XL that used the Polaroid 40 X 80 camera (shortly dismantled, never re-assembled) for her MATRIX #153 exhibit (2004-05) at The Wadsworth Atheneum Museum of Art (www.wadsworthatheneum.org) in their prestig-ious MATRIX program. Dings & Shadowsare often huge color photogram installations, one seen at The Benton Museum of Art, another at Florida Atlantic University (FAU). Caesura (2016) is a photogram that introduces visual breaks in color; caesura is Greek or Latin for pause: in word (poetry) or sound (music). Her images use color theory — RGBYMC — as palette and conceptual point-of-departure, using light, photography’s indexical, as it — blends, bends, breaks — across the paper. What remains are vertical bands, dividing the rectangle in half, white is the break or pause, in the composition; its “ caesura” or cut, dramatic black signals too much light, colors overlap as well. Zerogram re-names the traditional photo-gram; many published in her first artist’s book “Mirrors of Chance: The Photograms of Ellen Carey”.

    Photography Degree Zero (1996-2018) names her large format Polaroid 20 X 24 lens-based art, which she began using in 1983 under the Polaroid Artist Support Program. Struck by Light (1992-2018) finds her parallel practice in the darkroom with the camera-less photogram, a process from the dawn of the medium, discovered in the 19th century by William Henry Fox Talbot, both photogram and the phrase drawing with light continue today. Her experimental investigations into abstraction and minimalism, partnered with her innovative concepts and iconoclastic art making, often use bold colors to create new forms. Color and light is the link between her two practices; light, photography’s indexical, is used a lot or a little or none at all; its absence or zero.

    Pictus & Writ (2008-2018) finds the artist’s tradition of writing on other artists. Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA, with Yale University Press, published the book Sol LeWitt:100 Views with 100 new essays; Color Me Real is Ellen Carey’s contribution. Her Man Ray essay on her discovery of his “hidden” signature in his black and white photograph (1935) titled Space Writings (Self-Portrait) sees an edited version At Play with Man Ray published in Aperture. On her own work In Hamlet’s Shadow, published in The Polaroid Years: Instant Photography and Experimentation exhibit/book/tour (2012-13); Mary-Kay Lombino, Curator, Lehman Loeb Art Center, Vassar College.

    Ellen Carey’s work has been the subject of 55 one-person exhibitions in museums, alternative spaces, uni-versity, college and commercial galleries (1978-2018) – highlights: Dings, Shadows and Pulls, Amon Carter Museum of American Art (ACMAA); Photography Degree ZeroMatrix#153 Wadsworth Athene-um Museum of Art; Mourning Wall Real Art Ways; femme brut(e) Lyman Allyn Art Museum; Struck by Light Saint Joseph University; Ellen Carey: SurveyICP/NY; upcoming retrospective titled Struck by Light: The Experimental Photography of Ellen Carey, Burchfield – Penney Art Center (BPAC), received funding (30K) from Andy Warhol Foundation for the Visual Arts (NY, NY) for 2020.

    Her work seen in hundreds of group exhibitions (1974-2020) in museums, alternative spaces, university and college galleries, non-profits and commercial venues; highlighted in permanent collections of over 60 photography and art museums: The Albright-Knox Art Gallery (AKAG), The Amon Carter Museum of American Art (ACMAA), George Eastman Museum (GEM), Museum at the Chicago Art Institute, Fogg Museum at Harvard University, Los Angeles County Museum of Art (LACMA), Metropolitan Museum of Art, New Britain Museum of American Art (NBMAA), Norton Museum of Art, Smithsonian American Art Museum (SAAM), Whitney Museum of American Art, Wadsworth Atheneum Museum of Art, Yale Uni-versity Art Gallery while corporate collections include: Banana Republic and JP Morgan Chase Collection; noted private include: The LeWitt Foundation and Sir Elton John Collection. Exhibitions, solo and group, include: books, catalogues, brochures, artist talks, reviews, lectures etc: www.ellencareyphotography.com.

     

    Exhibit juror Rita Lombardi is currently the Visiting Assistant Professor of Photography at the University of Connecticut and resides in Providence, Rhode Island. She received her MFA from The University of Connecticut and her BFA from Massachusetts College of Art and Design.

    She has been the recipient of grants and scholarships, including the Innovative Teaching grant from the Wellin Museum, travel grants from the University of Connecticut and the Massachusetts College of Art and Design, was the recipient of the John Renna Arts Scholarship, National Endowment for the Arts. She was an artist-in-residence at the School of Visual Arts in NY and at the Wadsworth Atheneum Museum of Art in Hartford, CT.

    Her work has been in solo exhibits at the Munson Williams Proctor Art Museum, the Cogar Gallery, the Spirol Gallery, and the Dirt Palace as well as group shows in museums and galleries nationally; Los Angeles, New York, Boston, Louisville, and throughout New England.

    She has been published in both print and online publications, including F-Stop Magazine, The Curated Fridge, Afield Magazine, Redivider Literary Journal, and Blank Canvas Magazine. Her photographs can be found in private and public collections and is represented in the Boston Drawing Project flat files.

  • 1:00 pm-5:00 pm
    02/28/2020

    Eureka Gallery
    The Artwork of Steven Uccello.

    Opening Reception: Sunday, February 23, 12:00–2:00pm
    Exhibit Dates:     February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Falling Shadows by Steven Uccello

    I think of What Leaves, What Remains as a homage to classic stories of growing up, self-discovery, and running away. I centered my lens not only on the individual but the places around them; both when they are present and absent. I wandered away from a purely linear storyline because, like trying to remember our own past experiences, our memories ebb and flow between the vivid and the fragmented. I find that, in recalling my own past, the strongest imagery can sometimes be the most commonplace scenes that are simply recontextualized in the moment.

    Different photographic techniques, mediums, and genres also aid in encapsulating memory and one’s own thoughts. The series includes landscape photography, architectural photography, surveillance, postcards, intimate Polaroids, still lives, and even forensic photography. By keeping myself open to all these possible strategies I find it builds out the world and ideas I want to showcase.

    We all had to grow up and find ourselves. To some, being themselves may have felt like an insurmountable achievement. My goal for the series is to enable the audience to empathize with the character. Even if our experiences of becoming an adult differ from one another, art and storytelling form a language to understand other people’s own lives.

     

29

  • 1:00 pm
    02/29/2020

    Each year Arts Center East displays an exhibition of photography. It continues to be one of our most popular exhibits. Artists are welcome to submit their original work for jurying!

    View and download the prospectus here.

    Drop-off Dates:
    Thursday February 13, 3:00–6:00pm
    Friday February 14, 3:00–6:00pm
    Saturday, February 15, 10:00am–2:00 pm

    Pick-up of Unaccepted Work:
    Tuesday, February 18, 3:00–6:00pm
    Wednesday, February 19, 3:00–6:00pm

    Opening Reception: Sunday, February 23, 12:00pm–2:00pm

    Exhibit Dates: February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    End of Show Pick-up:
    Monday, March 16, 3:00–6:00pm
    Tuesday, March 17, 3:00–6:00pm

    Sponsored by

    About the Jurors

    Exhibit juror Ellen Carey is an educator, independent scholar, guest curator, photographer and lens-based artist, whose unique experimental work (1974-2018) spans several decades. Her early work Painted Self-Portraits (1978) were first exhibited at Hallwalls, one of the first artists-run alternative space, home to the Buffalo avant-garde — Robert Longo and Cindy Sherman — and led to a group exhibit The Altered Photograph at PS 1, another avant-garde institution. The visionary curator, Linda Cathcart, Albright-Knox Art Gallery (AKAG) selected Carey’s work for this exhibition as well as The Heroic Figure, which presented thirteen American artists for the São Paulo Biennale including: Cindy Sherman, Nancy Dwyer, Julian Schnabel and David Salle, portraits by Robert Mapplethorpe; South/North American tour (1984-1986).

    In 1983, The Polaroid Artists Support Program invited Carey to work at the Polaroid 20 X 24 Studio. Her Neo-Geo, post-psychedelic Self-Portraits (1984-88) were created, followed by her stacked photo-installations Abstractions (1988-95). Her pioneering breakthrough in Polaroid sees her Pull (1996) fol-lowed by her Rollback (1997) naming her Polaroid practice Photography Degree Zero (1996-2018). She investigates minimal and abstract images with Polaroid’s instant technology partnered with her innovative concepts, often using only light, photography’s indexical, or none, emphasizing zero. Her photogram work is darkroom-based and camera-less; it parallels her Polaroid less-is-more aesthetic under her umbrella con-cept Struck by Light (1992-2018). When Carey works in the color darkroom, no light is allowed except upon exposure. Carey has worked in a variety of cameras and formats: Polaroid SX-70 and Polaroid PN film; black/white to color; 35mm, medium, and large format. Her experimental images see a range of gen-res and themes; they are one-of-a-kind. Underscored by concepts around light, photography’s indexical and properties specific to the medium – silhouette; shadow; negative – in color, Carey often uses RGBYMC, photographic color theory, as a point-of-departure in palette, adding context and content, citing the history of color photography, especially the work of Anna Atkins, the first women photographer, the first in color.

    Site-specific monumental installations in Polaroid include Mourning Wall of 100 grey negatives at Real Art Ways (2000), also exhibited in Part-Picture (2015) at The Museum of Canadian Contemporary Art (MoCCA); Self-Portrait @ 48 at Connecticut Commission for the Arts (2001); the gigantic Pulls XL that used the Polaroid 40 X 80 camera (shortly dismantled, never re-assembled) for her MATRIX #153 exhibit (2004-05) at The Wadsworth Atheneum Museum of Art (www.wadsworthatheneum.org) in their prestig-ious MATRIX program. Dings & Shadowsare often huge color photogram installations, one seen at The Benton Museum of Art, another at Florida Atlantic University (FAU). Caesura (2016) is a photogram that introduces visual breaks in color; caesura is Greek or Latin for pause: in word (poetry) or sound (music). Her images use color theory — RGBYMC — as palette and conceptual point-of-departure, using light, photography’s indexical, as it — blends, bends, breaks — across the paper. What remains are vertical bands, dividing the rectangle in half, white is the break or pause, in the composition; its “ caesura” or cut, dramatic black signals too much light, colors overlap as well. Zerogram re-names the traditional photo-gram; many published in her first artist’s book “Mirrors of Chance: The Photograms of Ellen Carey”.

    Photography Degree Zero (1996-2018) names her large format Polaroid 20 X 24 lens-based art, which she began using in 1983 under the Polaroid Artist Support Program. Struck by Light (1992-2018) finds her parallel practice in the darkroom with the camera-less photogram, a process from the dawn of the medium, discovered in the 19th century by William Henry Fox Talbot, both photogram and the phrase drawing with light continue today. Her experimental investigations into abstraction and minimalism, partnered with her innovative concepts and iconoclastic art making, often use bold colors to create new forms. Color and light is the link between her two practices; light, photography’s indexical, is used a lot or a little or none at all; its absence or zero.

    Pictus & Writ (2008-2018) finds the artist’s tradition of writing on other artists. Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA, with Yale University Press, published the book Sol LeWitt:100 Views with 100 new essays; Color Me Real is Ellen Carey’s contribution. Her Man Ray essay on her discovery of his “hidden” signature in his black and white photograph (1935) titled Space Writings (Self-Portrait) sees an edited version At Play with Man Ray published in Aperture. On her own work In Hamlet’s Shadow, published in The Polaroid Years: Instant Photography and Experimentation exhibit/book/tour (2012-13); Mary-Kay Lombino, Curator, Lehman Loeb Art Center, Vassar College.

    Ellen Carey’s work has been the subject of 55 one-person exhibitions in museums, alternative spaces, uni-versity, college and commercial galleries (1978-2018) – highlights: Dings, Shadows and Pulls, Amon Carter Museum of American Art (ACMAA); Photography Degree ZeroMatrix#153 Wadsworth Athene-um Museum of Art; Mourning Wall Real Art Ways; femme brut(e) Lyman Allyn Art Museum; Struck by Light Saint Joseph University; Ellen Carey: SurveyICP/NY; upcoming retrospective titled Struck by Light: The Experimental Photography of Ellen Carey, Burchfield – Penney Art Center (BPAC), received funding (30K) from Andy Warhol Foundation for the Visual Arts (NY, NY) for 2020.

    Her work seen in hundreds of group exhibitions (1974-2020) in museums, alternative spaces, university and college galleries, non-profits and commercial venues; highlighted in permanent collections of over 60 photography and art museums: The Albright-Knox Art Gallery (AKAG), The Amon Carter Museum of American Art (ACMAA), George Eastman Museum (GEM), Museum at the Chicago Art Institute, Fogg Museum at Harvard University, Los Angeles County Museum of Art (LACMA), Metropolitan Museum of Art, New Britain Museum of American Art (NBMAA), Norton Museum of Art, Smithsonian American Art Museum (SAAM), Whitney Museum of American Art, Wadsworth Atheneum Museum of Art, Yale Uni-versity Art Gallery while corporate collections include: Banana Republic and JP Morgan Chase Collection; noted private include: The LeWitt Foundation and Sir Elton John Collection. Exhibitions, solo and group, include: books, catalogues, brochures, artist talks, reviews, lectures etc: www.ellencareyphotography.com.

     

    Exhibit juror Rita Lombardi is currently the Visiting Assistant Professor of Photography at the University of Connecticut and resides in Providence, Rhode Island. She received her MFA from The University of Connecticut and her BFA from Massachusetts College of Art and Design.

    She has been the recipient of grants and scholarships, including the Innovative Teaching grant from the Wellin Museum, travel grants from the University of Connecticut and the Massachusetts College of Art and Design, was the recipient of the John Renna Arts Scholarship, National Endowment for the Arts. She was an artist-in-residence at the School of Visual Arts in NY and at the Wadsworth Atheneum Museum of Art in Hartford, CT.

    Her work has been in solo exhibits at the Munson Williams Proctor Art Museum, the Cogar Gallery, the Spirol Gallery, and the Dirt Palace as well as group shows in museums and galleries nationally; Los Angeles, New York, Boston, Louisville, and throughout New England.

    She has been published in both print and online publications, including F-Stop Magazine, The Curated Fridge, Afield Magazine, Redivider Literary Journal, and Blank Canvas Magazine. Her photographs can be found in private and public collections and is represented in the Boston Drawing Project flat files.

  • 1:00 pm-5:00 pm
    02/29/2020

    Eureka Gallery
    The Artwork of Steven Uccello.

    Opening Reception: Sunday, February 23, 12:00–2:00pm
    Exhibit Dates:     February 23–March 14
    Gallery Hours: Wednesday–Saturday, 1:00–5:00pm

    Falling Shadows by Steven Uccello

    I think of What Leaves, What Remains as a homage to classic stories of growing up, self-discovery, and running away. I centered my lens not only on the individual but the places around them; both when they are present and absent. I wandered away from a purely linear storyline because, like trying to remember our own past experiences, our memories ebb and flow between the vivid and the fragmented. I find that, in recalling my own past, the strongest imagery can sometimes be the most commonplace scenes that are simply recontextualized in the moment.

    Different photographic techniques, mediums, and genres also aid in encapsulating memory and one’s own thoughts. The series includes landscape photography, architectural photography, surveillance, postcards, intimate Polaroids, still lives, and even forensic photography. By keeping myself open to all these possible strategies I find it builds out the world and ideas I want to showcase.

    We all had to grow up and find ourselves. To some, being themselves may have felt like an insurmountable achievement. My goal for the series is to enable the audience to empathize with the character. Even if our experiences of becoming an adult differ from one another, art and storytelling form a language to understand other people’s own lives.

     

Gallery Hours: Wed.–Sat. 1–5pm
*Galleries closed between exhibits. 
*Classes run independently of gallery hours.
*Office hours by appointment.

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