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
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
(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. www.theDavis.org
August 26, 2014
pull, stretch, hold, tight
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.