Recently released by Phaidon, Vitamin C+ is another noteworthy addition to the publisher’s boundlessly malleable series of anthological volumes gathering scores of artist profiles into luxuriantly illustrated, conceptually cohesive tomes. Medium, era, genre, or movement tend to be the organizational binders for these books, as might be expected, and they’re generally wonderful and inspiring as such. But they’re sometimes wonderful and inspiring in less obvious ways as well, furnishing readers with much more to delve into, reflect on, and revisit time and again.
The exhibition PRESENT at 490 Atlantic gallery features nine paintings by Jessica Weiss. In this body of work, made during the pandemic, Weiss continues to combine wallpaper, silkscreened patterns, fabric, and paint—utilizing the optical and psychological power of these scraps from domestic life. Within the colorful and tactile surface, figures appear, and gesture becomes important. The exhibit opens Saturday February 25th, 5-8pm.
Paintings are the products of imagination whose language is feeling and form. My paintings describe an interior theatre where the relationship of energy to limitation unfolds in a drama that is primarily optical. The work references the natural world filtered through the lens of the marvelous and invites the viewers’ participation and interpretation…. a task ideally suited to painting.
Gail Winbury’s multidisciplinary art exhibition The Girl Who Drew Memories at the Elizabeth de C. Wilson Museum on the campus of the Southern Vermont Art Center in Manchester, Vermont, addresses the intersection of art and psychology, specifically “vulnerability and creativity”. Winbury proposed to include poetry as a component of the exhibition and curator Alison Crites brought together Winbury’s paintings and collages, with poetry by living poets. The exhibition altogether raises the question “how do we tell the stories of our early childhood when at times there may be no words, or we dare not utter the words aloud?”