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SUMMARY:STELLA WAITZKIN: MATERIALITY January 14 - April 21\, 2022
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 21\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nSTELLA WAITZKIN: MATERIALITY\nJanuary 14 – April 21\, 2022 \nMateriality features a selection of works by Stella Waitzkin that were gifted to the Zillman Art Museum by the Waitzkin Memorial Library Trust and the Kohler Foundation. Waitzkin was a sculptor connected to the abstract expressionist movement in New York City\, and who worked alongside Jackson Pollock\, Franz Kline\, and Willem de Kooning. The works in this exhibition are created from cast polyester resin and a number are on display for the first time. Waitzkin famously commented “all words are lies”\, so it is paradoxical that the primary subject of her works were books. The artist’s sculpted books are unreadable slabs that seem to entrap narratives and ideas within the rough\, translucent pages. \nAdditional recurring subjects in Waitzkin’s work are birds and clocks\, both of which are represented in this exhibition. The rough surfaces and embedded materials\, such as silk flowers and assorted fabric\, evoke a feeling of uncomfortable nostalgia. The act of casting these everyday objects in the hardened resin material bestows the work with a sort of quirky permanence. In fact\, when viewed as isolated objects\, one might find them to be somewhat like fossilized relics. \nFrom the 1960s until the early 2000s\, the artist lived in the legendary Chelsea Hotel; a hotbed of creativity for artists\, musicians\, and writers who were drawn to the bohemian spirit that permeated its walls. Waitzkin found inspiration in the various objects she collected. She created a mammoth tableau in her apartment by stacking her sculptures en masse. In an article\, her son recounted: “Her entire place was a bedlam of sculpture and old books and wood\, garbage\, anything that she might make into art.” She was a collector and “put everything imaginable inside her books without words\, religious icons\, baby shoes\, faces of animals. She once embedded a dead bird in one of her sculptures.” \nAlthough Waitzkin’s sculpted books are without words\, they invite contemplation. The eccentric forms and the objects embedded within contain unique moments in time that are memorialized by the artist. \nAdmission to ZAM is FREE in 2022 thanks to the generosity of Birchbrook. \n###
URL:https://artinamericaguide.com/event/stella-waitzkin-materiality-january-14-april-21-2022/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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SUMMARY:DEBORAH DANCY: CIRCLING TIME
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 30\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nDEBORAH DANCY: CIRCLING TIME\nJanuary 14 – April 30\, 2022 \nCircling Time features nearly 30 paintings by Connecticut-based artist Deborah Dancy. Her gestural compositions\, often monochromatic and balanced with bright pops of vivid color\, are rooted in abstract expressionism. Some of Dancy’s works span six feet and embrace the large-scale format often favored by the early abstract painters. The artist uses a form of inventive biomorphic abstraction to evoke emotion and express an unbridled freedom. Opting not to begin a work with preconceived ideas\, the artist instead chooses to highlight the beauty of the unpredictable and the process of revision. Dancy embraces the idea of a “beautiful mess” expressing that “incompleteness—the unfinished fragment of what ‘almost was’ and ‘might become’—amplifies meaning.” \nDancy uses both additive and reductive processes in constructing her paintings. She adds painted passages that might later be scraped away as she searches to achieve a balance in the composition. The artist’s spontaneous process contributes to the sense of free flowing emotion found in many of her paintings. Dancy encourages various interpretation and formulation of meaning through the eyes of the viewer. The artist states “Experiencing a painting of mine can be like going to a country that is completely different. I want someone to embrace the different\, the difficult\, the frightening—even the ugly—in a culture that is vastly different from their own.” By not fully revealing her intention in the paintings\, the observer is inspired to experience a unique\, unrestricted\, and deeply personal encounter with a painting. \nAdmission to ZAM is FREE in 2022 thanks to the generosity of Birchbrook. \n 
URL:https://artinamericaguide.com/event/deborah-dancy-circling-time/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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SUMMARY:JEN WINK HAYS: VALLEY LOW
DESCRIPTION:Zillman Art Museum (ZAM) announces New Exhibition \nBANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, opened a new exhibition on January 14 that will run through April 30\, 2022. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year.\nAdmission to the Zillman Art Museum is free in 2022 thanks to the generosity of Birchbrook. \nJEN WINK HAYS: VALLEY LOW\nJanuary 14 – April 30\, 2022 \nValley Low features a selection of paintings and wall-oriented sculptures by Jen Wink Hays who is based in Philadelphia\, PA. Hays’ paintings are populated by whimsical shapes painted in a hard-edged fashion. Bulging forms that seemingly reference cartoon-like anatomy\, chunky bent cylinders and other shapes\, evoke forms from both the built and natural world and share space on these canvases. They unite in a sort of organic growth that seemingly emanates from the bottom of the compositions. Hays comments that “the works in Valley Low are undeniably upbeat and sunny in appearance yet—as the title suggests—something more psychologically complex and nuanced is at play.” While the artist’s paintings employ simple\, block-like and “almost childlike shapes”\, her process encompasses multiple steps\, both additive and subtractive. Art critic and writer Nico Kos Earle comments that Hays’ paintings are built “through a series of increasingly controlled layers” and that the artist’s “zoom in\, zoom out” approach is also “procedurally connected to our constant toggle between the organic and the synthetic.” \nThe exhibition demonstrates the artist’s keen ability to work in all formats and sizes\, from works as small as\n18 x 24 inches to mammoth paintings that span ten feet. A focal point of the exhibition is the large-scale painting\, Blowback. The eccentric\, stacked shapes appear to originate from the left corner and are created in a most cheerful palette that includes vivid lime green\, mustardy yellow\, coral\, and chromatic grays. In some instances colors shift within the enigmatic forms—the bottom of some flesh-toned forms appear to be dipped in vivid flamingo-pink. Hays confidently integrates flamboyant and under-stated colors in her paintings\, reflecting her desire “to negotiate between gaudy and tasteful in my work”. Energy and movement are also evident in Blowback. The prominent green element that hugs the right side of the “shape pile” seems to cast off an array of eccentric shapes that range from kite-like diamonds and circles to smaller random shards. These forms seem to have been expelled from the larger mass and float on the blue-gray expanse. \nAs in Hays’ paintings\, her sculptural works are equally lighthearted. It is as if she plucked a few singular shapes from the canvases and gave them life in three dimension. The quirky sculptures Bobber 1 & 2 are fashioned from accessible\, arguably “low art” materials such as papier mâché and have a playful resonance. In this wall installation Bobber 1\, a two-toned bumpy shape that brings to mind microscopic cellular material\, awkwardly dangles from twisted natural rope\, while it’s weighty green and charcoal gray companion\, Bobber 2\, hangs alongside. \n 
URL:https://artinamericaguide.com/event/jen-wink-hays-valley-low/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
CATEGORIES:Exhibition
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SUMMARY:Zillman Art Museum Announces New Exhibitions
DESCRIPTION:BANGOR – The Zillman Art Museum\, located at 40 Harlow Street in downtown Bangor\, Maine\, opens three new exhibitions in August 2020. ZAM is open Tuesday-Saturday from 10 am – 5 pm and brings modern and contemporary art to the region\, presenting approximately 12 original exhibitions each year. ZAM’s summer/fall shows open to the public on August 4 and run through December 23\, 2020. Admission to the Zillman Art Museum is free in 2020 thanks to the generosity of Deighan Wealth Advisors.\n\nMAINE INSPIRED: ART LUMINARIES AT THE BICENTENNIAL\nAugust 4 – December 23\, 2020\nThroughout history\, artists have been attracted to Maine for its striking landscape\, quiet remoteness\, and resilient people. As we celebrate Maine’s Bicentennial in 2020 and the state’s rich artistic history\, the Zillman Art Museum (ZAM) showcases artists who have not only contributed to the cultural fabric of Maine\, but whose works of art are lauded internationally. \nFeatured in the exhibition are an assortment of works from the ZAM collection including two of Winslow Homer’s finest prints\, Eight Bells\, 1887 and Perils of the Sea\, 1888. John Marin\, whose studio in Maine was on a picturesque point in Addison\, is represented by two dynamic watercolors\, A Bit of Cape Split\, Maine\, 1940 and A Bit of Stonington\, Maine\, 1926—as well as a suite of etchings that attests to his skill in both representation and abstraction. \nOne of Maine’s most prominent artists\, Andrew Wyeth\, is featured in two lovely watercolors gifted in 1948 by Bangor’s Wing Sisters\, Adeline and Caroline. The exhibition also highlights three images by Berenice Abbott\, one of photography’s greatest practitioners\, who relocated permanently from New York City to Blanchard\, Maine in the 1960s. Also included are contemporary works by Alex Katz including Ann Lauterbach\, 1977 and Swimmer\, 1974—two pieces that illustrate his distinctive\, pared-down approach to portraiture. \nAdmission to the Zillman Art Museum is FREE in 2020 thanks to the generosity of Deighan Wealth Advisors.\n### \n\nBEING HERE: MARCIE JAN BRONSTEIN\nAugust 4 – December 23\, 2020\nBeing Here features a stunning selection of recent watercolor compositions by Maine-based artist Marcie Jan Bronstein. In this exhibition\, Bronstein beautifully harnesses the unique qualities of watercolor\, often thought of as a unforgiving medium that doesn’t lend itself to revisionist impulses\, in images that are both subtle in one instance\, and bold in another. \nA focal point of the exhibition is a dramatic grid of nine works titled Oasis. Marks that suggest ropes or swaged transparent drapery inhabit these works. In these works\, one may also see subtle references to architecture\, such as seemingly stylized stairways and open portals of expansive light. Seen as a unit or as individual panels\, the calming monochromatic colors employed in Oasis—ranging from pale blues\, lavender\, and buttery yellow—invite multiple interpretations for viewers. \nIn other compositions\, Bronstein depicts crystalline forms as if the objects are mutating under a microscopic lens. One also sees the artist’s web-like strands that reference occurrences at the cellular level or stretched ovoid forms that are reminiscent of polished beach rocks\, potatoes\, or pill-like capsules. Through Bronstein’s varied marks\, blooms of transparent watercolor\, and enigmatic forms\, she creates rich opportunities for reflection and interpretation. \nAdmission to the Zillman Art Museum is FREE in 2020 thanks to the generosity of Deighan Wealth Advisors.\n### \n\nWOOD NYMPHS: JOANNE CARSON\nAugust 4 – December 23\, 2020\nWood Nymphs\, features a selection of drawings and large-scale sculptures by JoAnne Carson. Splitting her time between Brooklyn and rural Vermont\, Carson is known for her quirky\, serio-comic works in painting\, sculpture and assemblage. \nCarson’s sculpture Chlorophylia (For a World Without Color)\, that rises eight feet tall\, is a focal point of the exhibition. The work is light-bleached and ghostly with its oversized\, pale colored flowers and branches that stretch to the ceiling. Varied plant species—some resemble stylized hydrangea while others are textural enlarged roses—are assembled in a whimsical manner on a trunk-like base that is perched atop a circular disk. \nWood Nymph\, 1999\, represents a major work in Carson’s career; a multi-armed\, female figure spins pies on the tip of her fingers as she emerges from a nine foot high trompe l’oeil log. The work is a tragic/comic comment on the gendered role of women as homemaker\, muse\, and force of nature. \nThe work Blue\, 2006\, is a quirky three-dimensional piece that is reminiscent of the amped up colors and forms found in a Dr. Seuss book. The flattened\, stylized leaves and pom-pom flowers emanate from a coiled electric-blue stalk whose origin is four curved legs that rest precariously on the plinth. Exhibited together these works orchestrate a chorus of invented forest creatures that aspire to transport viewers to a magical\, imaginative woodland.
URL:https://artinamericaguide.com/event/zillman-art-museum-announces-new-exhibitions/
LOCATION:Zillman Art Museum – University of Maine\, 40 Harlow St.\, Bangor\, ME\, 04401\, United States
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