Please visit the Laconia Gallery main website (laconiagallery.org):

click here >> Laconia Gallery main page / Back to James Hull .com main page

 


June 30 - July 30, 2013

Elephant in The Room

Contemporary Encaustic artists


Molly Segal and Julia Cseko

SMFA Thesis Exhibits MFA


Danielle Kelly and Gary LaPointe

AIB BFA Fine Arts Thesis exhibits


 

david_curcio

David Curcio

I Wouldn’t Worry About It

Laconia Gallery, November 2 - January 13, 2013

Laconia Gallery is pleased to present the first Solo exhibition of work by David Curcio. Curcio creates intricate, illustrative personal narratives through an obsessive use of stitching, printing and patterning. Repeated hand drawn motifs result in a folk art feeling that embraces awkwardness in rendering objects and figures to temper the directness and even violence of some of his imagery. Curcio’s humor and stylistically naive illustrations create an intensely personal, often diaristic story full of the emotional upheavals that challenge us throughout our lives. The attraction for the audience is both pictorially and curiosity driven. We read the stylized banners of poetic texts and literary quotes written or chosen by the artist, or lyrics pulled from unexpected musical sources and we want to know what they mean exactly.

David references difficult struggles in his personal life and career symbolically through references to Abraham Lincoln and imagery of pharmaceuticals familiar to him from growing up as a “Prozac baby”. The esoteric combinations of objects like scissors and bear traps with proverbial texts creates a fertile counterpoint to the delicate symmetrical patterns of pill capsules or woodcut printed borders of floral motifs.

These compositions feature a homespun feeling and folk art quality due to heavily worked surfaces, many cut outs and repairs, and lots of hand scrawled wording. The skin-like Japanese paper is stitched together from several smaller pieces and looks old and out of square. Decorative patterns surround some of the illustrated items and the staccato stitches that define most of the edges feel like quilting. The slightly yellowed paper imbues a historic importance to the melancholy combinations, which often feature grand architecture and utilitarian objects from an earlier age.

While these works are introspective and emphatically reference the perils of depression (Abraham Lincoln is pictured crying after all) they are not as pessimistic or dour as the text or images alone might indicate. Curcio achieves this by balancing images of specific anti-depression meds with images of Viagra and references in both word and image to amorous activity. Love and lust are expressed in poetic verse and naughty drawings of underwear clad bottoms. It is this clever back and forth that keeps us looking for clues and reading the intricate passages of text beneath the banner headlines in Curcio’s work - because with any autobiographical work we learn some truths by reading between the lines.

– James Hull, Curator

 

david_curcio_heart

 

Past Exhibits:

 

Taking: IN 2012 - The best of AIB photography

July 12 - August 12, 2012

part of the Fast Forward Festival

aib taking in


The 150 x 150 MAD DASH! 2012

May 4 - May 20th, 2012

150x150 header

 


 

 

Lisa Costanzo and James Hull Present: The ArtBar & SweetSalon
at Laconia Gallery during the month of February

A salon is a gathering of people under the roof of an inspiring host, held partly
to amuse one another and partly to refine taste and increase their knowledge of
the participants through conversation. Salons, commonly associated with French
literary and philosophical movements of the 17th and 18th centuries, were carried
on in urban settings, among like-minded people.

Fri. Feb. 3
ARTbar : a sports bar for artists and friends
Opening party, First Friday Feb 3, 6-9pm
Sat. Feb. 4
SalonGames : Ping-Pong, Darts, Reading Salon, 12-4pm
Sun. Feb. 5
ARTbar Sundays : Contemporary Coffee and Crumpets
Sundays 10-12noon
Mon. Feb. 6
Monday Night Movies : at 8pm
The Close up: Early 1960's Films of Sergio Leone
Sat. Feb. 11
HeARTbar & CHOCOLATEbar : Make a card for your sweetheart, 12-4pm
Valentine card making workshop with complimentary supplies with hot coco and truffles.
Sun. Feb. 12
ARTbar Sundays : Contemporary Coffee and Crumpets
Sundays 10-12 noon
Mon. Feb. 13
Monday Night Movies
7:45pm : Wallace & Grommit animated short
8pm : A Film by Federico Fellini, 8 1/2
Sat. Feb. 18
Paint-A-Cake Salon : “Paint” a blank cupcake. Mix from a big palette of colors and flavors.
All kids big and small welcome. 12-4pm
Sun. Feb. 19
ARTbar Sundays : Contemporary Coffee and Crumpets
Sundays 10-12noon
Mon. Feb. 20
Monday Night Movies : Feb 6, 13 & 20 at 8pm
Stanley Kubrick's vision of 2001
Fri. Feb. 24
Edible Infographics : Cakes throughout U.S. History. An installation in our main gallery.
Enjoy a slice of history with a taste of cake. Closing dessert party, 7-10pm
Sun. Feb. 26
ARTbar Sundays : Contemporary Coffee and Crumpets
Sundays 10-12 noon
Feb 3-26, during events
Reading Salon | 433 : Art magazine reading room with free WIFI and Coffee service



Past Exhibits:

Robin Mandel - Everywhere and Nowhere

December 17 - January 29, 2012

Review by James Foritano in Artscope: Here

Laconia Gallery is pleased to present a site-specific installation by Robin Mandel. “Everywhere and Nowhere” is the first major exhibition of a new body of work that engages the illusive qualities of light as a primary material. A logical progression from his conceptual sculptural works, these projected and reflected forms are both directional and static, hard-edged and organic. Mandel uses this dynamic and self-canceling paradox to articulate and extend the traditional use of light and shadow to the point of dematerialization.
 
Across media, Mandel’s work explores ideas of “motion and stillness,” and “how things can move to become still.”  For this installation, he directs our attention to his areas of perceptual and visual interest with a universal two-dimensional pointer: the arrow.  An arrow can indicate a direction (movement) or a specific point (stillness).  In the gallery, mirrored arrow forms are attached to the walls; through the use of light and shadow, these forms appear to double and triple themselves, rotated in space around a point and altered in density. The groups of arrows are positioned around the perimeter of multi-lobed, organic forms, and draw attention to the boundary between light and dark that defines/creates the projected shapes and the arrows themselves. 
 
In contrast to the more common, figurative use of the reflections in contemporary art by artists like Anish Kapoor, Michelangelo Pistoletto, or Josiah McElheny, the use of a mirror to investigate light or shadow from a projected light source connects this work to the (pseudo) science-based sculpture of Spencer Finch, Otto Piene and Olafur Eliasson.  Rooted in perception, these sculptural pieces become experiments that use mirrors to manipulate light as a material, independent of narrative or imagery beyond the arrow itself. Rather than abstracting, warping or repeating our own image as part of a vocabulary of representation, Mandel grapples with notions of transparency, simultaneity, and the immaterial.  “A mirror can turn light against itself, becoming an object, a shadow, and a reflection all at once...I am interested in what your eye sees when it knows it’s being fooled.”
 
The artist explains he is “setting up systems where forces are at work but balanced out, each one acting against another, and exploring the connotations that can arise from that: harmony, concordance, but also deadlock and impasse.” The viewer experiences the works in a darkened room and from various positions – sometimes casting his/her own shadow and making part of the “form” disappear. That ephemeral quality of vanishing and the way a flat shape can appear to be a volume are the points of transformation we are made aware of by these surprisingly dynamic installations. 

– James Hull, Curator

 

Robin Mandel, acrylic mirror, wire, light (2011) dimentions variable

artist's website: http://robinmandel.net/

 

 

 

Boston < - > Vienna Two Ways

an exchange exhibit between galleries in two cities, artists in three

September 30 - October 22, 2011

Opening Reception: October 7 ( First Friday ) 5:30 - 8:30 PM


Candy Nartonis: Up Front

30 Years in Boston

June 3 - July 27, 2011

 


John Guthrie: New Paintings

April 1 - 31, 2011

 


nancy e. jones: Tropical Depression

a video installation / on view with John Guthrie

April 1 - 17, 2011


 

NEW! Video of 2011 dash HERE

150 x 150 Mad Dash!

150 works of art for only $150!! each

May 6 - 22, 2011

Opening Preview Reception:
First Friday, May 6, 5:30-8pm

Public Previews:
Saturday, May 7, 12-4pm
Sunday, May 8, 12-4pm
Friday May 13, 12-4pm

Donating Artist information >> drop off your work

Saturday, April 30, from 10 am - 2 pm

Sunday, May 1, from 2 - 4 pm

Monday, May 2, from 2 - 5pm

or by appt: 857.222.0333 James Hull

The Event

The Mad Dash:
Saturday, May 14, High Noon!


Gallery Hours:
Fri - Sun, 12-4pm
SoWa Artwalk, Sun May 15, 12-4pm
Info for Participating Artists

 

Artists confirmed as of 4/25/2011:

Sophia Ainsle
Ilona Anderson
Susan Belton
Brian Bishop
Meryl Blinder
Natalya Bregel
John Burkett
Jason Chase
Dana Clancy
Maggie Connors
Candice Smith Corby
Linda Cordner
Lisa Costanzo
Kein Dacey
Ruth Daniels
Steven Duede
Emmet Duggan
Catherine Evans
Jennifer Ellwood
Christ Faust
Amy Gillespie
Audrey Goldstein
Linda Goulet
Julia Groos
John Guthrie
Arthur Henderson
James Hull
Deborah Kamy Hull
Jeff Hull
Spencer James
Danielle Krcmar
Julie Levesque
Scott Listfield
Kati Mennett
Candy Nartonis
Steve Novick
Kathleen O'Hara
Linda Price-Sneddon
Ellen Rich
Ashley Saccoach
Ben Sloat
Guy Michel Telemaque
Hilary Tolan
Donna Veverka
Paris Visone
Deb Todd Wheeler
Heidi Whitman
Brain Zink


Randal Thurston : This Mortal Coil

October 1 - November 20, 2010

Exhibition Schedule:
First Friday Reception:
Friday, Oct. 1, 5:30 - 8:00pm
Opening Reception:
Friday, Nov. 5, 5:30 - 8:00pm
Gallery Hours:
Fri - Sat, 12:00 - 4:00pm

 

 

 


AUGUST 27 - SEPTEMBER 26, 2010
Lisa Costanzo: And a peculiar mourning it was.

Review from Boston Globe by Cate McQuaid 9/8/2010

Laconia Gallery presents a solo exhibition by Lisa Costanzo of a yearlong project incorporating painting, installation and sculptural objects based on a single, specific event. A tour de force of concentrated focus, this body of work presents a narrative of separation, loss and rejuvenation. Played out through painted portraits filled with costumes and romantic victorian stagecraft, Costanzo embeds and repeats her own image to mourn her own breakup. Inhabiting another era the artist references the stories of Austen, Bronte, and Shelly from a very personal perspective. Costanzo tempers her romantic vision through her fascination with the film, The Bride of Frankenstein, an apt metaphor for "a perfect union, miscommunication, rejection, and 'the couple' violently destroyed." The Horror movie fantasy and atmosphere keeps the strength of the expression from tipping into melodrama.


Costanzo has chosen the palette and intensity of Goya reduced into pared down compositions inspired by Manet to express heart-wrenching loneliness and loss. Masterful paint handling and structural underpainting reinforce the figures and the tension pictured in both the full length self-portrait series and the small, delicately rendered objects wrought with symbolism. A series of large canvases depict the artist, isolated in a dimly lit space, costumed in a black victorian mourning dress and hat. A group of small paintings of stacks of wax-sealed letters–which also appear in the round as props–are introspective transcriptions of a much colder contemporary form of communication: text messaging.


In another twist, wallpaper patterns of text and repeated silhouettes create a vintage domestic backdrop which allows the gallery to momentarily become an environment where transformation and recovery emerge. Stormy and emotive, the works create an extended narrative loaded with detail and mystery which tempts us to read between the lines of the love letters.

– James Hull, Curator

Lisa Costanzo, Confortably Numb, (2010) oil on canvas

Lisa Costanzo - installation view


Past Exhibits

Artwork is still available through May 23rd - Great deals even after the dash!!

Don't miss the group exhibit - on view Thursday - Saturday 12 - 4pm + SOWA ArtWalk May 15, 16th

 

This year's Video of the Dash!


 

Now Showing >>> March 16 - 27, 2010

Videre: an exhibition of new video work from SMFA advanced video students
Opening Reception: Tuesday, March 16, 2010, 6-9pm

Laconia Gallery welcomes you to explore Videre, a group exhibition of new video work from School of the Museum of Fine Arts, Boston advanced video installation course. Exhibiting artists include Fred Ata, Shane Butler, Ahyoung Choi, Stephen St. Francis Decky, Jill Fisher, Merideth Hillbrand, Nancy Ellen Jones, Sydney Kinchen, Katrina Neumann, Samantha Nye, Anna Rochinski, Coco Segaller, Lily Sheng, Michael Sims, Gabriel Sweet, Joanna Tam, Ali White, Melissa Woods, and Biying Zhang. With SMFA faculty Mary Ellen Strom, this group of young contemporary artists requests your presence and participation in this group show of new works.
The individual works present a broad range of ideas by makers from China, Dubai, Lebanon, Hong Kong, Brazil, Korea, Canada and the United States. Projects represent distinct subjects and styles including an intervention into the museum, an homage to Prince, experiences of immigration, a portrait of Guizhou and bad girl art. From high-end production, to stop motion animation, to do-ityourself theatricality, these new video works exhibit relationships to performance, site-work, painting, sculpture, film and digital culture.
To view videos on-line, please email James Dingle at jdingle@smfa.edu for Videre links.

 


View of Joe Wardwell and Katie Fitch kitchen (art by Jim Shaw)

 

The Artist as Collector (part one)

February 5 - March 6, 2010

Opening Reception: Friday February 5, 5:30 - 8 PM

An exhibition of artworks collected by 6 area artists and artist spouses (a group of group exhibitions) .

Collections by:

Derek Brain & Danielle Krcmar
John Guthrie
James Hull & Donna Veverka
Joe Wardwell & Katie Fitch
Douglas Weathersby & Hilary Tolan
Brian Zink & Paula Soares

The idea for the “Artist as Collector” exhibit began over dinner with a couple of friends - all of whom were artists or married to them. We were admiring our hosts’ home and of course the artwork on view all around us. We recognized artists we knew, saw works we had forgotten about and things by friends that we never knew existed.
We shared an interest in how what we collected connected or contrasted with the work we each made. The exceptions to our assumptions and overlaps between our collections were interesting enough to support the idea of exhibiting several small collections in a single, neutral space.
Trading with other artists, collecting work from friends who are artists and living with artworks by people you know or admire is a very specific subset of collecting. What one chooses to collect becomes a portrait influenced by many factors: where we live, who we share a studio with or have worked with, what colors or styles we favor and more. The works also represent a span of time and tell a narrative outside of and in addition to the works themselves. The whole idea of it is different from a collection assembled as an investment or to demonstrate some thesis.
These collections operate differently from a visit to an artist’s or any collector’s home. It is certainly less intimate and excludes the other objects that happily interact with art in the home: chairs, wall colors, low lighting and of course residential architectural styles. That said, it offers an almost magical view of several home collections at one time, and in one space.
Our thanks to all the artists and spouses who have emptied their beautiful homes and temporarily loaned some of their beloved collections to make this exhibition possible.

Organized by James Hull

List of artists exhibited:

HULL+ VEVERKA
David Faust
Lisa Costanzo
David Pappaceno
Hannah Barrett
Bill Thompson
Suzannah Sinclair
Doug Weathersby
Dana Clancy
Danielle Krcmar
Cristi Rinklin
Jill Slosburg-Ackerman
Hilary Tolan
Sheila Pepe
Arthur Henderson
Audrey Goldstein
Joe Wardwell
Taylor Davis
----------------
BRAIN+KRCMAR
Sheila Gallagher
Jason Brain
Ric Haynes
Joe Wardwell
Dana Clancy
Brian Zink
Kanishka Raja
Maggie Connors
Brendan Killian
Melora Kuhn
Chris Nau
Hannah Barrett
Chris Faust
Line Bruntse
Nicholas Higbee
---------------
WEATHERSBY+TOLAN
Jeff Perrott
Sam Tan
Ethel Poindexter
Marina Vindrell
Mattew Burns
Isabel Riley
Joe Wardwell
Brian Zink
James Hull
John Guthrie
Mike Mittelman
Judy Haberl
Suzannah Sinclair
Tori Fair
Brian Miller
Donna Veverka
---------------
ZINK+SOARES
Richard Anuskiewicz
Doug Weathersby
James Hull
Sheila Pepe
Paul Palacios
Eric Doeringer
Joe Wardwell
Jill Slosburg-Ackerman
Sheila Pepe
----------------
WARDWELL+FITCH
Tanja Hollander
Jim Shaw
John Guthrie
Angela Dufresne
Gideon Bok
Clint Jukkala
Brian Zink
Wilson
--------------
GUTHRIE
Spencer James
Leah Gibberson
Danielle Krcmar
Tammi Jane Meehan
Taylor Davis
Spencer James
Susan Jane Belton
Bill Thompson
Rob Moore
Suzannah Sinclair
A. M. Lilly
Juliann Cydylo
Isabel Riley
Heather Rowe
Kanishka Raja
Donna Veverka


Hannah Cole: I Move to Keep Things Whole

December 4 - January 23, 2010

First Friday Reception: December 4, 5:30 - 8PM

Artist's Reception: Friday December 11, 5:30 - 8 PM

Gallery Hours: Thursday - Saturday: 12 - 4 PM

 

Boston Globe review by Cate McQuaid HERE

Weekly Dig review HERE

 

link to artist's web site: HERE

 

Hannah Cole slows down the momentary visual overlaps between public and private experiences and scrutinizes them, using everyday scenes as metaphors for the erosion of solitude in contemporary life. Cole paints large scale scenarios on shaped panels that picture our commuter existence. She invigorates these genre scenes through an evocative use of multiple viewpoints and silhouette cut outs which make implicit the author’s position as a passenger in a car. The painterly depiction of direct and indirect visual experience using rearview mirrors and car window shaped panels transforms what could be a passing snapshot into a moment of introspection and cultural critique. By giving us a mediated view that has been enlarged and enhanced we are encouraged to slow down, to engage the scene and to look more closely. Stretching time by recording a specific viewpoint has been used in photography and painting for decades but Cole offers us a compelling example of temporality in a fresh new way.


The creation of blurring movement and sharply focused detail in the same painting serves as a reminder of how we see–and how visual clarity depends on what we do not see. Point of view, framing and the objects literally cut out of the image alert the viewer to draw a distinction between this work and documentation. Cole relegates edited out elements to the status of silhouettes which effectively diminishes their pictorial impact while supporting the particular positional relationships of the scene.


The artist observes that, “In an overcrowded world, and in the overexposed era of Facebook and reality TV, driving is one of the few remaining acts of ritual and solitude.” The frame for so many of our visual encounters, the car window, is the stage for an investigation of perception and experience. The windshield is often the invisible division between public and private, between interior and exterior worlds. Being a passenger in an automobile remains a paradoxical refuge in our car culture: both a quiet, protected enclosure and a wide, evocative, constantly changing view of the world outside.
The result of the physical manipulation of the panels is psychological: we see the speed of our contemporary point of view as a memory in our minds eye. Within that view, because it has materialized in front of us, we take the time to momentarily transcend the absent-minded, fast-paced, cacophony of our existence enough to see the beauty in it. Cole gives us back time to ruminate on the sublime immensity of the outside world by helping us visually escape into a moment that becomes a stand-in for our interior world.


– James Hull, Curator
“I move to keep things whole” is from the poem, “Keeping Things Whole” by Mark Strand


More past Exhibits >> Earlier exhibits: Here

 

Back to Laconia main page / Back to James Hull .com main page