News & Events Archive

Reunion 2016


March 29, 2016


Wellesley-Deerfield Symposium - Modernism in New England


Modernism in New England
Saturday, March 5, 2016
9:00 am – 4:30 pm
Collins Cinema, Wellesley College


A symposium funded by the Barra Foundation and co-sponsored by the Grace Slack McNeil Program for Studies in American Art at Wellesley College and Historic Deerfield, Inc.

The Wellesley-Deerfield Symposium will explore the impact of Modernism on New England’s art and architecture. Though long stereotyped as a bastion of conservative culture and overshadowed by milestone events such as New York City’s 1913 Armory Show, twentieth-century New England was home to a vibrant group of visual artists, architects, curators, collectors, and educators who embraced Modernism and looked for ways to develop its tenets and new media as a regional expression. Illustrated presentations by scholars from across the country will address the influence of Modernism on New England architecture, city planning, interior design, and the visual arts during the twentieth century.

The symposium is free and open to the public but seating is limited. To register in advance please sign up here

To download a copy of the Symposium Program click here


March 5, 2016



Retrofit Painting Presents…Installation by Thomas Willis

Location: Jewett Sculpture Court
On View: January 25 to February 26, 2016
Opening Reception: Tuesday, January 26th 4 - 6 pm
Artist Talk: Thursday, February 25th, 12:30 - 1:30pm JAC 450

Examining the relationships and disparities between the history of painting, trademark, and entertainment, Thomas Willis’ installation, Retrofit Painting Presents… brings a representation of the hedonic Las Vegas Strip to the academic Jewett Art Center with his conceptual art brand, Retrofit Painting. Willis’ Retrofit Painting, part parody, part praise, is a designer label and online store created to market and sell paintings crafted as objects for everyday use. The label’s “luxury products” range from ready-to-wear painting shoes, bags, sunglasses, hats and other custom accessories. During the summer of 2015 The Cosmopolitan of Las Vegas invited Willis as their summer artist-in-residence. He transformed the appearance of their art studio (positioned among shops and restaurants) into a “high-end retail boutique.” In this installation Willis displayed the brand's paintings-as-objects to the casino visitors as a retail outlet, while alluding to the problems and perceptions of flatness on the Las Vegas Strip. For the Jewett Sculpture Court Gallery Willis will surround the “products” and “promotional materials” of Retrofit Painting with the cultural elements of a Las Vegas nightclub to create a theatrical setting for viewing the art.
Within the context of Las Vegas and beyond, Retrofit Painting appropriates high production media, commercial advertising, minimal design, and capitalist business practices to expound on and bring into question the potency and consumption of surface in the marketplace. Visit the piece’s website, or for more information on the project.
Thomas Willis (1985) is the Technology Support Specialist for the Department of Art at Wellesley College, managing the photo, video, and new media labs and equipment for the Jewett Art Center. Willis is a Boston-based artist originally from Las Vegas, NV. He received his BFA in painting and drawing from the University of Nevada, Las Vegas in 2009. His art has shown in numerous exhibitions across the United States, with works in institutions such as the Luo Ruvo Center for Brain Health, Bentley University, and the deCordova Museum. Willis currently has a studio at the Dorchester Art Project in the neighborhood of Field’s Corner, Boston.

February 25, 2016


Dr. Ruth Morris Bakwin Class of 1919 Art Lecture

Ken Lapatin "Why Fakes Matter: Authenticity in Ancient Art"

Ken Lapatin is the Associate Curator for Antiquities at the Getty Villa.

November 11, 2015


Lamia Balafrej in Berkeley: "Tablet of Being"

Tablet of Being: Persian Painting and the Demiurgic Artist in Fifteenth Century Iran and Central Asia

Assistant Professor of Art Lamia Balafrej will travel to Berkeley College in October to give a lecture on Persian book painting. From the event website: "Through a careful analysis of aspects of facture and composition, combined with an exploration of primary art historiographical sources, this talk suggests that this departure from illustration transformed the painting into a reflexive medium commenting on art itself, its function and its status, and above all, its relationship to God's creation."

We hope you'll attend if you're in the area!

Learn more on the Berkeley events page.

September 17, 2015


Jewett Arts Center Receives 2015 "Keeping It Modern" Grant from the Getty Foundation

The Jewett Arts Center is the recipient of a grant through the Getty Foundation's 2015 "Keeping It Modern" conservation initiative. Professor Alice Friedman is principal investigator on the grant team and Professor Martha McNamara is the on-campus project director. They will be working with consultants Timothy Rohan, author of The Architecture of Paul Rudolph, and David Fixler, a highly-regarded expert on the restoration of mid-century modern architecture in America.

Learn more about the grant in this Wellesley News story.

July 21, 2015


New InterViews with David Kelley, Nicholas Knouf, and David Teng-Olsen

October 21, 2014


New View: 2014 Faculty Exhibition

On View: September 17th - December 21st 2014
The Davis Museum at Wellesley College
Marjorie and Gerald Bronfman Gallery / Camilla Chandler and Doroth Buffum Chandler Gallery

(top) Bunny Harvey, Duet: Hidden Dwellings I, II, 2009; Andrew Mowbray, Workbench , 2013 (photo: Stewart Clements, Boston MA); (middle) Candice Ivy, Feral (Drawing), 2011; Salem Shooting at Maskal Square, April 2014. (photo: Tamirat Gezahegne); Daniela Rivera, Tilted Gallery, 2012; (bottom) David Teng-Olsen, Chasing Infinity, 2014.

This fall, the Davis is proud to present New View, a survey of recent work by 11 faculty artists. Known to students in their classrooms and studios, the members of the faculty featured in this exhibition are at once educators, mentors, and active, professional artists. Their work is regularly shown in galleries and museums across New England, throughout the country, and in many cases internationally. This exhibition offers visitors the unique opportunity to explore the extraordinary talent and broad scope of art production among the faculty of Wellesley College.

Participating artists include Carlos Dorrien, Bunny Harvey, Candice Ivy, David Kelley, Phyllis McGibbon, Salem Mekuria, Qing-Min Meng, Andrew Mowbray, David Teng-Olsen, and Daniela Rivera from the studio art faculty and Nicholas

Knouf from Cinema and Media Studies. Capturing their extensive range, the exhibition includes paintings, prints, and sculpture, as well as video and mixed media installations.

Curated by Claire Whitner, Associate Curator. Generously supported by Wellesley College Friends of Art at the Davis. Free and open to the public.

August 26, 2014


pull, stretch, hold, tight

Monday, November 4, 2013
Kristen Martincic & Althea Murphy-Price


pull, stretch, hold, tight

Kristen Martincic & Althea Murphy-Price

Wellesley, MA - November 2013 The Jewett Art Gallery at Wellesley College is please to present Printmakers, Kristen Martincic and Althea Murphy-Price. In pull, stretch, hold, tight,  Kristen Martincic and Althea Murphy-Price explore conformity and self-perception by isolating elements of the body.

Murphy-Price’s bound and tangled representations of Murphy-Price’s bound and tangled representations of hair address issues of tension, discomfort and surrender shaped by culture. Martincic’s paper bathing suits make us reconsider how our bodies are perceived while bringing to light vulnerability and exposure.

Both have an art practice that is based on a love of making. They share a deep appreciation for material while embracing alternative printmaking approaches, including construction and collage methods. Their deliberate design sensibility makes use of line to convey the tactile and sensitive. Martincic’s use of a fine, drawn line references fabric textures and abstracted body hair, playing between a bathing suit and an underdress, skin and clothing. Murphy-Price preserves the line of individual strands of hair to create arrangements that are gestural and structured, elegant and chaotic.

The work in pull, stretch, hold, tight asks us to reexamine our relationship to the body. This outward reflection of internal identity is at times tenuous and yielding.