Co|So Exhibitions :: Summer Members’ Show "New England Perceived"

Co|So’s summer exhibition New England Perceived, features work by a selected group of artist members that explore and celebrate New England.  Juried by Jonathan Fairbanks, (Director of the Fuller Craft Museum and former curator of American Decorative Arts and Sculpture at the Museum of Fine Arts, Boston) the show includes a wide variety of media, including oil, pastel, watercolor, graphite, photography and wood carving. The works are tied together through their evocation of the spirit of New England in the summer months and beyond.

Perfect Pairing by Ann Trainor Domingue depicts the iconic New England lobster meal.  Sun pours in through an adjacent window, gently illuminating the feast of lobster and white wine. Domingue’s prominent use of reds and blues produces a contrast in temperature, creating the impression of cool shade at the end of a hot summer’s day.  The overall effect is the feeling of leisure and relaxation, two ideals that are synonymous with summer in New England.

Steven Simpson’s The Other Side of the Tracks is the 2^nd place prize winner of the Summer Members’ Show: New England Perceived. This work depicts a view from the Charles River with the Boston University Bridge in the foreground and the Boston cityscape receding into the background. A B.U. sailboat shares the focus of the painting with the bridge as other boats are shown behind it on the water. The Other Side of the Tracks is a common image for many during the summer as they walk or run along Memorial Drive and look across the River to Boston. 

Claudia Kaufman’s Jar of Limons is an innovative and refreshing take on fruit still lifes. Assorted lemons and limes are packed within a traditional mason jar, presumably to garnish a summer dish or drink. One cannot help but imagine the tart citrus flavor of these fruits when observing the saturated green and yellow pulp. The dark background highlights the subject and creates the focal point of the hyper-realist depiction of the mason jar and its ripened contents. Jar of Limons is a stunning display of Kaufman’s talent as a still life painter, and is a perfect summer work.

With thirty-six works in all, New England Perceived presents a diverse array of artists and styles and is sure to feel as much like summer as lively Newbury Street outside.  New England Perceived will be on view through August 22, 2012. Stop by the gallery for a taste of summer in Boston!

Co|So :: Intern Day!

On Thursday, July 19^th, the Copley Society celebrated our fabulous summer interns with a trip to Boston’s Institute of Contemporary Art.  The primary exhibit currently on display is Josiah McElheny’s Some Pictures of the Infinite, in which McElheny challenges the viewer to contemplate the vastness of the universe and the enormity of the celestial bodies that surround us. McElheny’s work is introduced with the basics: his glass making expertise that is the foundation for his oeuvre. From linked goblets to tear-collecting bottles, the variety of objects displayed at the entrance to Some Pictures of the Infinite showcase his talent and incredible mastery.

The show continues with surfaces made reflective that force the viewer to observe themselves while they are observing the work.  In the first rooms at the ICA , the reflective surfaces develop into mirrored landscapes that oddly do not reflect the viewer, and entreat the viewer to think about his/her place in relation to the art. The intricacy of the creations grow more complex as the show progresses towards McElheny’s materialization of the Big Bang theory, which asks the viewer to ponder his/her place not just in relation to the art, but in relation to the universe.

Island Universe by Josiah McElheny, on display at the Institute for Contemporary Art/Boston. 

Island Universe is the centerpiece of McElheny’s exhibit, featuring mirrored glass chandelier orbs hung from the ceiling. These “island universes” are celestial pieces that act as an homage to the Big Bang theory.  Each orb is covered in mirrored-glass rods that end in either a small blown glass ball or a light bulb, creating an effect that mimics stars. The orbs seem to be exploding and expanding outward, a galaxy contained in glass. Viewers are able to move into the space of each chandelier, interacting with the orb as a sculptural element invading his/her space and as a larger, celestial object. The mirrored central orbs of the ‘islands’ reflect the image of the viewer, which allows him/her to reflect not only literally, but provokes the viewer to think of the colossal nature of our universe and its infinite expansion in space and time.

Summer interns Divya, Maureen, Ellen and Meaghan (from left.)

Overall, Intern Day was filled with personal reflections and thought-provoking art. Thankfully, the ICA has a waterfront deck for a relaxing lunch! The Co|So interns and staff enjoyed great art, great food, great weather, and even greater people.  Thanks for having us ICA, we hope to be back soon!

Co|So Events:: Jeanne Rosier Smith Demonstration

Summer at the Copley Society of Art is characterized by bright, vivid colors, and exemplified in the work of Jeanne Rosier Smith. This Sunday, July 15^th, the pure colors in the medium of pastel will be explored by Smith in an artist demonstration from 1-3 pm.  Three of Smith’s works are presently on view as part of the Summer Members’ Show: New England Perceived and Co|So Artists’ Small Works: Juxtapositions. Before switching careers and discovering her love of pastels twelve years ago, Smith lived another life in the written word, receiving both a Master’s and PhD in English.  Of her preferred material she says: “[t]he velvety richness, the pure color, the directness of pastel seduced me.”

Jeanne Rosier Smith, On the Cusp, 24 x 28, pastel

Her mastery of the medium is apparent in her work On the Cusp, which was awarded Juror’s Choice Fourth Place by jurist Jonathan Fairbanks.  The range of saturated cool tones Smith uses to depict a single wave gives the water a gem-like quality, while the cool, white sea foam surrounding the wave enhances the realist quality of the image.  Inspired by time spent on the coast of France in Nice, On the Cusp is part of a series that explores the crashing and curling of waves. Smith submerges us into the wave as it is literally on the cusp – the last moment of calm before it crashes. Her wave is imbued with a sublime quality that presents the viewer with the immenseness of nature. Her expert draftsmanship realistically captures the turbulent water as it crests and falls. The roughness of the water depicted directly contrasts with the soft smoothness of the pastels used to create it. Smith explains this complexity: “The feeling of motion and sound captured in an image fascinates me.  The splash and spray of wet mist with a dry medium is a continual challenge and delight.” 

Jeanne Rosier Smith, Rosy Red, 11 x 13, pastel 

Smith’s smaller works Pomodori and Rosy Red, which are currently on display in the lower gallery, again expose the viewer to the vibrancy of pastels.  Smith claims to “think in colors,” a fact made apparent in both works.  Rosy Red depicts an apple on a windowsill, the realism of the work highlighted by the texture of the pastel. The intricate details of the apple are emphasized by the nondescript background– this in turn allows the colors in the fruit and its leaves to pop and become the focal point. In Smith’s work Pomodori, she once again employs a rich red pastel to depict the ripe, fresh fruit in a bushel of tomatoes. She utilizes the vibrancy of the medium to emphasize the contrast between light and shadow, thus extracting a full array of colors from the fruit. Pomodori and Rosy Red are so well executed that the viewer can imagine what the subject of each work would taste like, making these paintings good enough to eat!

Jeanne Rosier Smith, Pomodori, 11 x 13, pastel

Join us on Sunday, July 15^th from 1-3 pm at 158 Newbury Street when Smith gives insight into her process during her demonstration of pastel. This event is free and open to the public!

Artist Spotlight :: Doron Putka

Copley artist, Doron Putka currently has work featured in both our Summer Member’s Show: New England Perceived and also in theCo|So Artist’s Small Works: Juxtapositions. 

Originally from Israel, Doron began her artistic career as an illustrator.  She is always inspired to reinvent her work.  Claiming that she was born with a pencil in her hand, she describes her art as, “constantly evolving.”  What she creates today is unlike something she painted five years ago.  Inspired the most by people, the unique colors and expressions that are particular to each person’s face is what is most enchanting to Doron.  She loves color and the unique ways in which she can incorporate it into her landscapes, still lifes and portraits.  

Doron Putka, Star Magnolia, 12 x 15, oil on paper

Doron’s work is representational of its subject matter.  Star Magnolia, winner of the Jurors Choice for honorable mention is currently on display in our Summer Members Show: New England Perceived.  The gestural brush strokes hints at the process in which the work was created. Thickness of the paint creates an emphatic piece that brings inanimate objects to life. The feather-soft white magnolia flowers pop from the subdued, impressionistic background; and intermittent dabs of bright orange and lime green give Star Magnolia depth as well as substance. 

Doron Putka, Galilee Rooftops, 9 1/2 x 7, oil on paper

Putka’s painting Galilee Rooftops received an Award of Merit in this year’s Copley Society’s Small Works Exhibition. Doron’s stylistic approach is apparent once more with gestural marks of thick paint. The autonomous strokes come together on the small 9 ½ x 7 inch canvas to create the sense of looking over rooftops onto a lush landscape. Doron uses light blues, forest greens, and light pinks which provide a tranquil tone throughout the work.

Doron Putka, Ranunculus, 14 x 11, oil on paper

The second work of Doron Putka in the Copley Society’s Small Works Exhibition is Ranunculus. The 14 x 11 inch painting depicts pink Persian Buttercups placed in a vase. Putka’s flowers, the Persian Buttercup, are a protected species of plant in Israel, where she is originally from. These flowers are unique in that they contain more petals than the traditional flower, making this a hearty and aesthetic subject for Ranunculus. Putka juxtaposes the bright pink flowers in front of an unmodulated light green wall that causes the plants to be the undeniable focal point of the painting.  From the detail of the petals on the flowers to the rust on the vase, Doron Putka displays her talent in composition and form.

Doron is inspired by old and new painters.   She loves color and is most inspired by people, although that is not what she typically exhibits at the Copley Society.  She describes her work as ‘representational’ and typically paints still-lifes, portraits and landscapes. 

 “You could say that what I love in painting is the little secrets that I find when colors and shapes are put next to one another, that when you find it, you get a certain vibration of truth and beauty.” – Doron Putka

Both exhibits will be at the Copley Society of Art until August 22^nd.

Co|So Exhibitions :: Martha’s Vineyard Artists of the Copley Society

The Copley Society’s newest offsite collaboration brings the works of prominent Co|So artists to the beautiful island of Martha’s Vineyard. Martha’s Vineyard Artists of the Copley Society opens Sunday, July 1^st at the Featherstone Center for the Arts and features 12 esteemed Copley Artists influenced by the island. While each artist is linked to the beautiful Massachusetts landmark, the individual inspirations are evidenced through a variety of subjects and mediums. From seascapes to cupcakes, visitors will have the unique opportunity to view a diverse display of works that capture the range of artists represented by the Copley Society. 

Jessica Pisano, Sea Green no. 12, 14, 15,18 x 6 acrylic, oil and gold leaf on wood panel

Artist Jessica Pisano grew up on Martha’s Vineyard and has always been captivated by the breath-taking landscapes that surrounded her. This idyllic scenery can be found at the heart of many of her paintings, such as Sea Green no. 12, 14, 15 (Triptych). In this work, Pisano uses a stippling technique to portray an ocean view in shades of bright blue, aqua, and white. Her incorporation of gold leaf allows light to shimmer and reflect off the canvas in a way that echoes how light interacts with water in nature. Her dynamic triptych transforms with the light, and is certain transport the viewer to his/her preferred seaside escape. 

Ovid Ward, Into the Fog, 43 x 35, acrylic on board

The work of Martha Vineyard resident Ovid Ward is also featured in this exhibition. Living on the water has enhanced his love for all things nautical, which is reflected in his work. Both Into the Fog and Dawn on South Beach explore the subject of the ocean in an exacting, hyper-realist style. Ward utilizes the “clear light” of the island to capture the atmosphere of the Atlantic, and explores the effect of the sun at different times of day.  Into the Fog allows the viewer a glimpse of the sea-faring life of the Vineyard as only a native would experience.

Laurie Brown, Peep Hole Slant, 12.5 x 22 x 1.5, gouache on cut paper

 With a style completely her own, children’s author turned artist Laurie K. Brown creates fine art out of paper. Brown collages together colorful pieces of paper that are manipulated to achieve various textures and shapes, and formed into relief sculptures. Peep Hole Slant features a series of white squares punctuated by colorful circles and crescents. The clear geometric shapes allow the colors to become the focal point of the work. Her intricate pieces are playful, intriguing, and her innovative use of paper to articulate color and shape invites the viewer to look closer and explore each work.

If you find yourself on the Vineyard this July, stop by the Featherstone Center for the Arts to see the range of artists featured at the Copley Society who are influenced by the wonderful Island of Martha’s Vineyard. Martha’s Vineyard Artists of the Copley Society continues through July 18^th and is sure to be a great success.

Co|So Exhibitions :: Nancy Colella's "Beach Peeks"

To help put you in a summertime frame of mind, Copley artist Nancy Colella is exhibiting her atmospheric images that depict the effect sunlight has on sea side architecture. “Beach Peeks” is her first solo show at Co|So, and brightly fills the Red Room with the feeling of being on a summer vacation. Each painting uniquely captures the essence of light and air that she experiences in her coastal neighborhood.  Colella describes her work as, “immediate and spontaneous impressions of my reactions to everyday life.” Colella reduces her work down to its primary elements by limiting brush strokes, and approaching each subject abstractly while working gradually to add details.  Her strong contrast between light and dark colors helps unify the composition, achieving an organized rhythm and balance of brush stroke, color and texture.  

Nancy Colella, Outdoor Shower, 8 x 10, oil on canvas

In “Outdoor Shower,” Colella captures one of the most recognizable features of a beach house:  the outdoor shower. The shower, while situated in the center of the work, is integrated into the side of the house and almost lost in the overall compositional focus on the contrast of light and shadow. Colella achieves varying textures via thick application of paint, which increases the sense of depth in the image.  The shrubbery and the landscape are defined by painterly brush strokes, and balance the flattened lines used to identify the prominent architectural features. The cast shadows and quality of light place the viewer in mid-afternoon on a summer’s day.   

Nancy Colella, Private Road, 16 x 20, oil on canvas

Like “Outdoor Shower,” on the surface “Private Road” features the typical South Shore beach house, but in essence portrays the atmosphere and feeling of the summer light and air. The dramatic shadows delineated by sharp tonal contrasts in the house in the foreground are clearly distinguished from the sunlight-steeped yellow house in the background. This delineation in tonality allows a greater sense of depth and atmosphere. Similarly, the bright blue sky, which sits almost flat on the canvas, reinforces the pure air quality that the viewer can almost feel. 

Nancy Colella’s “Beach Peeks” will be on display at the Copley Society of Art until August 21.  The artist will speak about her work in the gallery on Saturday, June 30 from 1:00 to 3:00pm.  We look forward to seeing you in the gallery during these upcoming warmer months!

Co|So Exhibitions :: Jim Connelly at Boston Private Bank

To celebrate the arrival of baseball season, the Copley Society of Art presents a series of Fenway Park paintings by Jim Connelly on display at the Boston Private Bank in the Prudential Center.  Accepted into Co|So last year, Jim Connelly is fresh painter whose works displayed at Co|So have been popular and well received by both patrons and collectors.  Connelly's background in commercial art and illustration lends a stylistic perspective to his works, which present Boston viewers with novel takes on familiar Fenway landmarks, such as like the CITGO sign and Yawkey Way.  

Jim Connelly, CITGO Sign, 20 x 24, oil on canvas

These painterly snapshots are derived from the artist’s technique of cropping sections of complete compositions just enough to develop an energetic composition without pushing the subject matter into complete abstraction.  As seen in CITGO Sign, Connelly’s work captures a view of Boston’s beloved “north star” that a passerby wouldn’t normally see but for more than a split second.  Connelly, on the other hand, is inspired by these typically unnoticed and fleeting moments in the city, and skillfully transforms his unexpected observations into eye-catching paintings.  He has been known to climb up to great heights or sit level with the ground to explore new perspectives whose viewpoints provide fresh appreciation for ordinary surroundings.  Connelly aptly shares these insightful observations through his paintings.  

Jim Connelly, Foul Pole Fenway, 24 x 36, oil on canvas

In the painting Foul Pole Fenway, a grid of yellow poles occupies the foreground of a day-lit scene of Fenway Park. The composition of this painting reveals the highly-geometric underlying structure of the park. Additionally, Connelly uses keen attention to light and shadow to reveal variegated dimensions to the greens, blues, and reds that saturate Fenway Park. Commenting on both his passion for light and the Red Sox, Connelly says, “Living close to this historic park and being a loyal Red Sox fan provides me with ample opportunity to see the ever-changing way the light transforms the building, not to mention the many angles of the structure.”

Jim Connelly, Yawkey Way Fenway, 24 x 36, oil on canvas

 The final painting included in Connelly’s series at the Boston Private Bank is Yawkey Way Fenway. Connelly reverently presents a lamppost displaying the street signs of Van Ness & Yawkey Way before a triumphant deep blue banner, curled and rippled by the summer air. The visceral feel of summer in the city brought to life by this work will resonate with devoted fans and native Bostonians alike. 

Jim Connelly’s innovative depictions of Kenmore and the ballpark will be on view at the Boston Private Bank located at the Prudential Center at 800 Boylston Street thru July 17, 2012. 

Click HERE to view the online exhibition!