Selections from the Collections:
Paintings, Sculpture, Prints, and Photography, ca. 1920–Present
August 27–October 22, 2014
To celebrate the college's 125th anniversary, the Gallery opened its 2014–15 season with an exhibition that highlighted the many diverse and important artworks from the school's permanent collection.
Bone of my Bones: The Sculpture of Mark Potter
October 25–December 23, 2014
Note from the Gallery Director, Bruce Herman:
The sculpture of Mark Potter grows out the artist’s interaction with materials, hand tools, theology, and life on his farm in Pennsylvania.
Cut and polished from beech, curly maple, English walnut, Douglas fir, cherry, sycamore and other native woods––Potter’s sculpture manages to preserve the shape and contour of a given log or branch or tree trunk while discovering hidden aesthetic elements in each natural form. Each of these pieces also operates as a metaphor for some aspect of marriage. The exhibition title, “Bone of My Bones,” refers, of course, to the spontaneous proclamation of the first human, Adam, when he encountered his mate Eve. The artist consciously speaks out of this same energetic “shout.”
Mark Potter has crafted a lively and aesthetically rich show that draws upon biblical references and evokes the beauty and complexity of the literary and relational realities underpinning his imagery.
Ryan Stander: Light Remains
January 17—March 7, 2015
Light Remains invites viewers to consider human identity, memory, and the nature of photography, through the common photograph. With interactive installations and mixed-media work, Stander asks viewers to engage the found photographic objects as unique meeting points of past and present, memory and identity, persistence and loss.
Masako Kamiya, Nathan Miner, and Lynda Schlosberg
March 18—April 22, 2015
"What brings together the works by Masako Kamiya, Nathan Miner and Lynda Schlosberg is the way each of the artists engages with ways of seeing. Of course initially this ‘seeing’ pertains to the visual recognition of the art object: the paint on the surface, the formal qualities such as composition, scale, materiality, design, pattern, and of course their vibrant use of color. Additionally, each artist in Field Visions is concerned with the act of looking itself, a thoughtful looking. They are part of a growing number of artists and thinkers who emphasize slowing down and suggest a contemplative response to the fast paced culture of our times."
—Leonie Bradbury, Curator
Director of Montserrat College of Art Galleries