July 19 – August 18, 2018
ATLANTIC WORKS GALLERY PRESENTS
15 Years on the Edge:

Atlantic Works Gallery’s anniversary celebration

featuring members of the gallery
RECEPTIONS 6-9PM
JULY 19 OPENING
AUGUST 16 CLOSING

The Atlantic Works Building at 80 Border Street in East Boston is visible on maps as
early as 1892, as part of a large parcel owned by the Atlantic Works Company. By
2001, the building consisted primarily of artists' studios.

When a large room on the top floor became available in late 2002, a number of
artists decided to pool their resources and rent it as a group, using the space both
for exhibits and whatever creative endeavors seemed appropriate. This was the
birth of Atlantic Works – A Collaborative Space for Art and Ideas. The inaugural
exhibit was held in February of 2003.

Several of the original 22 people who were in the inaugural show are still active
members today. Our newest members joined as recently as this year.

Join us for a show celebrating our fifteen years as co-op gallery and space for
nurturing and encouraging artists.

Gallery hours are Fridays and Saturdays 2-6pm and by appointment.
ATLANTICWORKS.ORG | 80 BORDER ST., 3RD FLOOR, EAST BOSTON, MA 02128

contact@ATLANTICWORKS.ORG | 857-302-8363

Discovery and Discernment…A Journey Back to Now

Featuring new works  by artists Diane Modica and Sandrine Colson

June 2-23

Opening Reception – Saturday, June 2, 6-9pm

Artists Explore Heritage at Atlantic Works Gallery Exhibit 
Modica and Colson each explore their rich ancestry and heritage and the connections that the past and the present create within us.  This includes the confluence of the visible and invisible forces;  the communal nature that we all share  with the past and with one another and  the seen and unseen history that influences our   personal experience. No one  gets in or out of time without resilience, trauma and gifts. 
 
Modica’s work reflects her Sicilian heritage launching her on a journey  to her family’s roots in Sicily.  Her  work represents connections  and emotions born out of a very complex island that has survived centuries of invaders who actually shaped the Sicilian psyche. Modica remarks  “I believe   that once you  really dig into your family roots a lot is revealed about why you are who you are “.
 
 
Colson comes   from a family of artists.  She is originally from Provence, France . Her work reflects her rich family history and their  journey throughout Europe and North Africa. Colson states”  My work is a continuing experimentation with form, color and medium letting innovation and creativity materialize on the canvas leaving it to the viewer’s imagination to finish the story that I started making. magination visible.”
 
 The Atlantic Works Gallery is the premier visual arts organization in East Boston and has occupied 80 Border Street  for 15 years. The artists  work in a collaboration to produce monthly exhibits by members at the space  . 
 
 The Gallery shares  building space  with the East Boston Artists Group which hosts  the annual East Boston Open Studios with generous support from the East Boston Foundation and with  financial support from involved  local business sponsors.

Gallery hours: Friday-Saturday 2-6pm or by appointment

Atlantic Works Gallery
is proud to host

The Revolution Will Not Be…

May 4, 2018 through May 26, 2018

Opening Reception – Saturday, May 5, 6-9pm

3rd Thursday Reception and artist talks– May 17th  6-9pm

 

The Revolution Will Not Be…
A dilemma for an artist is how to make art out of information that most of us would rather ignore. This May, at Atlantic Works Gallery, leading Boston Artists focus on the political character and power of art. Their honest, intimate and visceral work is both personal and historical, with surprising juxtapositioning of images, such as the high color guillotine next to a headless nude besieged by digital gadgets. The collection reveals the mechanisms of power in all its manifestations with the intent to impact the viewer into being an active participant in the information circuit.
            “At the risk of seeming ridiculous, let me say that
             the true revolutionary is guided by a great feeling
              of love.”
                               …..Che Guevara
Atlantic Works continues to be a space for artistic expression amid the web of economic and cultural circuits that continues to determine the experience of artists in this region. Here we encourage the artist to speak their voice, show their stuff and express solidarity.

Gallery hours: Friday-Saturday 2-6pm or by appointment

Atlantic Works Gallery
is proud to host

Boston Biennial 5

presented by The Biennial Project

April 7, 2018 through Ap, 2018

Opening Reception – Saturday, April 7, 6-9pm

3rd Thursday Reception and capsule artist talks– April 19th  6-9pm

Closing Reception– Sunday, April 22nd, 4-6pm

3rd Thursday Reception and capsule artist talks– April 19th 6-9pm

“So much gorgeous and successful work from a diverse group of artists based around the country and the world. The Biennial Project’s commitment to building connections between artists here and elsewhere is utterly refreshing. To see them and their collaborators at work is to see artists at the top of their game – working without the net of institutional support, but obviously having a hell of a good time in the process – and nurturing personal and working relationships and networks that feel downright subversive in this day and age.” Critic Alec Onsemska on the Boston Biennial

Building on the very positive critical response to 2016’s Boston Biennial 4, The Biennial Project is excited to announce that the Boston Biennial 5 will take place at Atlantic Works Gallery this April, 2018.

This highly anticipated 5th installment of the Boston Biennial brings together art from all over the US, twelve other countries and 5 continents.

All accepted art work will be displayed via a large screen digital presentation in the gallery.

In addition, fourteen prizewinning artists chosen by The Biennial Project from among the accepted work will have their art exhibited in the gallery.

Gallery hours: Friday-Saturday 2-6pm or by appointment, and Saturday/Sunday April 21st and 22nd 12-6pm as part of East Boston Open Studios

Boston Biennial 5 PostcardBoston Biennial 5 Postcard (back)

Thin Places:

Bo Petran, Stephanie Arnett and invited guests

March 3, 2018 through March 30, 2018

Opening Reception – Saturday, March 3rd, 6-9pm

3rd Thursday Reception – March 15th  6-9pm

In Thin Places, we are divested of the illusion that our mundane world is wholly separate from the world of the invisible.  The phrase is Celtic in origin and unlike similar concepts of oneness with the divine from other cultures, it refers to a physical location where we can peek through to a greater beyond. In their two-person exhibition with invited guests, Bo Petran and Stephanie Arnett present a look behind the veil.

For Petran, his  journey as a painter and sculptor began with his choice to cross between two worlds: from the Czechoslovakian border to West Germany with a machine gun in his hand.  His Thin Place will represent a physical space cultivated for creative flow.

Arnett is a lapsed painter, and a photographer by trade,  She’ll be showing her recent experiments with flow painting in a continuation of the narrative of space exploration from her Away Mission series.

ATLANTIC WORKS GALLERY is East Boston’s Collaborative Space for Art and Ideas. Established in 2003, it is a member-operated gallery located on the top floor of 80 Border Street on the waterfront. It is T-accessible (Maverick stop on the Blue Line) and there is usually ample parking.  For detailed directions, information about members, future shows, etc, please visit atlanticworks.org.

For more information or to schedule a private press viewing, contact Stephanie via email: (steph@stephaniearnett.com) or phone (617-388-6250)

New Members Show

“Point of View” by Diane Modica and “New Works” by Justin Rounds 

February 3 – 24, 2018

Opening Reception: Saturday, February 3, 6-9pm

Third Thursday Reception: February 15, 6-9pm

About the Artists

Diane Modica was born and raised in East Boston where she resides. A lawyer by day, she is a self-taught artist who has gained significant insights from classes, workshops, reading, traveling, history, heritage, faith, politics, people and other artists. By observing and engaging in life and all its emotional, and often unseen and unknown connections, her work resonates with surprise.  Her work is both abstract and representational in in all media-water color, oil, acrylic, collage, textile and whatever else calls out to her.

Modica approaches art with an intuitive spirit. While her knowledge and experience may come from years of engagement, intuition is a special gift that guides her artistic expression.

She believes that observing history, everyday objects, nature and life with an open mind can force a whole new perspective, or point of view, freedom from conventional perceptions and the release of imagination from its persistent constraints.

Modica says, “My finished pieces may change with the manner, mood and place from which I view them. It shows me that small marks, gestures and variations in art and life can inform me in an entirely different way.  Sometimes that different point of view is hidden until you search and it reveals itself. The key is an open mind. Points of view will find you if you let them”.

To schedule a private viewing and press interview at a more convenient time, please contact Diane Modica at 617 567-7200.

 

 Justin Rounds is a transmedia artist, musician, and educator living and working in Boston, Massachusetts. Employing painting, performance, and interactivity, his work investigates dynamics of power and control in culture and society, using processes emerging from the  intersection of art and technology. He is an active member of Atlantic Works Gallery in East Boston, adjunct faculty at Northeastern University, and passionate about helping people use technology creatively. You can find his work on line at justincrounds.org

 

Begun in 2003, Atlantic works Gallery, East Boston’s Collaborative Space for Art and Ideas, is a member-operated gallery located on the top floor of 80 Border Street on the waterfront of East Boston. It is nearby the Maverick T stop on the Blue Line. Parking is available in the 80 Border Street Lot,  and  on and around Border Street.  Please visit us at www.atlantic works.org and on Facebook.

Gallery hours: Fridays and Saturdays 2-6pm, or by appointment

Art Basil

January 12 – 27, 2018

Opening Reception and Artist Talks: Thursday, January 18, 6-9pm

 

Atlantic Works Gallery has a history of staging offbeat group shows to satisfy the personalities and talents of our eclectic artist members…

 

…so, this past summer, when one of our members climbed up a ladder to get basil from his rooftop garden only to fall off the ladder and bust his face up but good, we joked that the portrait he took of himself after returning from the hospital should be titled Art Basil.  

 

And then it hit us–our first 2018 group show must be Art Basil! What better way to play off the whole ART BASEL thing and its attendant hoopla and, at the same time, challenge ourselves to create amazing new work for the new year.

 

Another of our extraordinary members had the idea for an Art Basil cookbook that showcases AWG art and basil recipes, which we promptly got to work on.  

 

Now you have it in your hand: the ART BASIL cookbook. And we’re inviting you to come see the exciting ART BASIL show.  (You can check out the remarkable transformation happening on the East Boston Waterfront, too, in which AWG is prime art player.)

 

FOR MORE INFO, or to request another Art Basil cookbook, or a private viewing*, contact Anna Salmeron at annasalmeron@comcast.net or 617.913.1871, or Christine Palamidessi at christine@palamidessi.com or 617.460.0550.

 

Gallery hours: Fridays and Saturdays 2-6pm, or by appointment*

The German Christmas markets sparkle in the European landscape as places where reality can be suspended and grown-ups can be kids again. Central Berlin alone has 10 Christmas markets, each market with its own personality. They run from late November to early January.

There are constants: Twinkling rows of small shops bring crafts and specialty street-foods from all over the country. Sausages sizzle. Beer foams. Wonderful smells waft. Gingerbread morphs into festive shapes. Some markets even have ice-skating rinks, amusement-park rides, and carnival games of chance.

Berlin Christmas Market 1

Berlin Christmas Markets 2

Berlin Christmas Markets 3Drinks are plentiful, the Glühwein (hot mulled wine) and hot rum grog are most popular because it is cold outside, and most drinking places are outdoors, around circular fire pits or at long tables. My modus operandi is strolling among crowds with a mug of Glühwein or a package of hot roasted chestnuts, or sitting at a fire pit.

Berlin Christmas Markets 4

Berlin Christmas Markets 5

Berlin Christmas Markets 6

My favorite market is at Alexanderplatz, where there is a giant Pyramide with life-size Mary, Baby J, Joseph, shepards, and kings revolving on a 5-story-tall replica of a common German Christmas table-top decoration, which at home has tiny tiers propelled by candle heat. The ground level of Berlin’s monstrous Pyramide is a beer garden, the second tier is a restaurant.

Berlin Christmas Markets 7

The Berlin Christmas markets are kitschy and crass, but within bounds. The mood seems a mix of merriment and nostalgia. Little kids are ecstatic with all the lights and movement, and adults are ready to drift into a realm of holidays long past with hope for the future. This is maybe why the killings at last year’s Berlin Christmas market seemed especially brutal. Its one-year day of remembrance happened this week in Berlin, and the observance was not without controversy.

When the attacker last year on Dec. 19th drove a 25-ton truck into the Christmas Market at Breitscheidplatz quickly killing 12 people and injuring 70 more, prime minister Angela Merkel herself seemed like a doe caught in the headlights.

She was blamed for the terror by the right wing for having allowed so many immigrants into the country (the driver of the truck was from Tunisia), and she was criticized from the left wing for showing so little compassion toward the victims and their families. She did not meet with the families after the attack. She did not write them personal letters. She did not offer government-funded reparation or funeral costs.

It’s not like terror is unknown in Germany. The 20th century Germans unleashed much of their own on the world. But since the 1972 terror attack at the Olympic Games in Munich, which now seems long ago, modern Germany has gotten off easier than many other countries in terms of this sort of violence. Frankly, Merkel has had little practice in dealing with terrorism on her own turf.

Berlin Christmas Markets 8

On Tuesday of this week, Merkel visited the site of the killings, where an elegant and unusual monument to the victims was unveiled (see next blog entry on artistic monuments to terror) and where fresh flowers and candles have been constant since a year ago. The Christmas market was shut down that day for the ceremonies. Bells tolled in the Gedächtniskirche – the Church of Rembrance of WW II events, on the steps of which the truck driver had mowed down the 12 victims. On Wednesday, Merkel finally met with the families of the killed and the injured, and talked with them for 3 hours. Overdue, but kind.

In the past Germans have been critical of the way some nations report terrorist events – nations that name and lionize the perpetrators, and leave the victims nameless. In response to this act of terror, German journalists have made a point of naming all 12 victims in each coverage of the event. I will do it, too: Anna Bagratuni, Georgiy Bagratuni, Sebastian Berlin, Nad’a Cizmár, Dalia Elyakim, Christoph Herrlich, Klaus Jacob, Angelika Klösters, Dorit Krebs, Fabrizia Di Lorenzo, Lukasz Urban, Peter Völker.

Three-foot high, one-ton sections of concrete barrier now encircle the same market and life goes on in a bent direction.

Berlin Christmas Markets 9

May our celebration of the new season, the new year, in any holiday form we choose, signify a fresh start for us all.

Berlin Christmas Markets 10

X Bonnie Woods

Nexus

work by Marjorie Kaye and Carmen Sasso

December 1-23, 2017

Nexus represents a constellation of ideas circulating in the present, originating with the ancients, and manifesting in the sculpture and painting of artists Marjorie Kaye and Carmen Sasso.

Marjorie Kaye examines the relationship between recent two dimensional paintings and three dimensional sculptures.  The paintings see interrelationships between shapes along the surface, as if there were entities co-existing within the space.  They encouraged three dimensional pieces that seemed to have jumped out of the surface, escaping from the confines of the second dimension. There is a dichotomy present in the works, from subtlety to complexity; iteration to minimalism.   Together the works address the balance between two disciplines, and the singular worlds that arise from their interaction, as in a thought giving way to the crystallization of form.

Carmen Sasso works with ideas which resonate with solace from the Old Testament through the Psalms of David, praising God, and confirming faith through the management of fear.  Echoes of gratitude sung from a simple shepherd thousands of years past are still heard today and offer calm to a modern person suffering the same.

Each artist approaches the meeting point between structure and idea. Both offer an elixir to the malaise of the present in the forms of joy, reverence and contemplation.

Opening Reception: December 2, 6-9pm
Third Thursday Reception and Artists’ Talk: December 22, 6-9pm
Gallery Hours: Friday and Saturday, 2-6pm or by appointment

In the gallery with Charlene Liska, 2017

In the gallery with Charlene Liska, 2017

In the Silent. Silence. Silenced. exhibit at Atlantic Works Gallery, Charlene Liska sets up a Plato’s Cave, of sorts, using video and installation. Gallery visitors can see faces of the artist’s  tribe on one screen and hear the echos of what they are saying–via  deliberate use of headphone assistance– on a second screen in a different location in the gallery. At the same time the sound of silence–rather, what Liska offers as silence–is a bird’s chirping which permeates the gallery’s audio atmosphere. What the gallery-goer does not immediately realize: the bird chirping is mimicry of the real thing; a sound made by Liska’s Brazilian electrician, Elson.

Using the concept of Silence as the springboard, Liska plays with the possibilities of form and organization, flat planes, shadows, dimension and her own wit, imagination and experience.

“I see Silence as having two sides,” she says. “There’s the beautiful, spiritual and eternal. We are all seeking that and desperately want that kind of silence. And then there is the psychological side.

“Psychologically we’re all being silenced by too much noise. Too much data. It’s flooding in on us constantly.”

Artist Charlene Liska and her 'Diorama' installation at Silent. Silence. Silenced exhibit November 2107.

Artist Charlene Liska and her ‘Diorama’ installation at Silent. Silence. Silenced exhibit November 2107.

The far-side of the gallery houses her curtained-off installation Diorama. Liska creates a layered and a sculptural space that features her own image–talking but without sound–captured within a very small 3-d TV that hangs about six feet above the floor. A projection of a green shrub and brick wall hit and flash on the monitor. The green and red images reach back further, to the flat wall which is about 6 feet behind the suspended TV. The green flashes, changing shape, morphs.    In the upper left corner, is a video cameo of a Boreal Warbler that seemingly watches over the pulsing installation.

“I have tremendous sensitivity to flashing light,” Liska said. “I suffer seizures. Epilepsy.”

Liska explains that epilepsy was a cruel condition to have as a child because it made her feel alienated, self-vigliant and hypersensitive. “Beginning when I was about 13, going on through menopause–estrogen can push you over the edge!”

She hid the condition. In high school teachers and administrators threatened ‘if you have another one’ they would have to put her in an institution. “That meant insane asylum,” she adds. Her family felt strongly that she and they should not talk about her condition publicly.

“I don’t stay silent about it anymore, or hide it.” Liska explains. The episodes and experience certainly influenced her art.

For example, waking up from a seizure Liska would see heads hovering above her. “Heads similar to the heads in my video interviews.” Of course the heads were her husband’s and daughter’s; earlier on her family’s.

Liska has shot many ‘head-on interviews.’

“I did one on Occupy Boston. Another in Berlin on the Documenta. The first video I made was with Anna [Salmeron]. We interviewed gay people about their first kiss. It’s titled ‘Crush’.”

She laughs. “I’m attracted to people’s heads and what’s going on in there.”

In the Silent. Silence. Silenced video Prophecy I, Liska interviews and celebrates her tribe of Atlantic Works Gallery artists.  She requested the interviewees wear hoodies, a form of silencing, and asked them about the future.”What do you think it will be like?” But you can’t hear the answers, unless you walk to the other side of the gallery, to Prophecy II, and put on headphones, or read the text pinned to an opposite wall. Gallery-goers, however, can see the deconstructed pulse of the language, like a line of a heart monitor, that captures the sound waves of the interviewees answers. “It’s media chaos,” she says about the separation of voice from image. “It’s taken for granted in our world, words can easily be drowned and depersonalized in data.”

In the back nook of the gallery, Liska’s 12- hour video, Border Night  not only pays homage to the past–early video artist Andy Warhol– but also to current and future questions regarding privacy and surveillance.

“I wanted to grab the opportunity to make this video before everything on East Boston’s waterfront changes,” Liska says.  So, one night in  September 2017, Liska set up cameras in her Border Street studio window and shot a dusk to dawn look at East Boston’s waterfront.

In addition, at the Silent, Silence Silenced exhibit, Liska shows archival prints:  Newfoundland Bogs (from her time in Canada); Convent, Ghent; and Mojave Whistlestop.  

Atlantic Works Gallery artist Charlene Liska in front of "Prophecy I Machine Transcription": video, 2017 (image on screen is Elson, the Bird Caller)

Atlantic Works Gallery artist Charlene Liska in front of “Prophecy I Machine Transcription”: video, 2017 (image on screen is Elson, the Bird Caller)

There is not complete Silence in the gallery. We hear bird noises. “So many people associate silence to birdcalls,” Liska says. So she came up with bird sounds–a witty twistaroonee, of course: sounds made by her Brazilian electrician who has a knack for imitating and relating to birds. “They talk to him. He talks to them,” she says.

“When you go into the countryside to record silence, you get birdcalls. Even when you are not looking for them, there they are.  It’s like birds live in a parallel universe. Their spirits fly and they don’t care what we do. They just go on and on. Unaffected.” She nods. “Birds are stronger than we are.”

Finally, going back to Platos Cave: the ‘prisoners’ in the cave perceived only shadows and echoes of real objects and were completely unaware that those forms were not the real thing. Ultimately, according to Plato, their perception was not false; by their understanding of the world, the shadows and echoes were the actual forms, since this was all they knew.

In ‘Liska’s Cave’, an ode to Silence, the world’s transition to a socially connected, digital society—the age of the internet–nudges the viewer to contemplate modern reality, and the shadows it casts on form. Here, in the gallery, the major form is video screens. And use of the form questions the separation of words from their speaker, the transformation of spoken text into paper flatness; the absence and ability to inject new words within the movement of a silenced mouth; and even the manipulation of self presentation.

In the gallery with Charlene Liska, 2017

In the gallery with Charlene Liska, 2017

“I do art because I like to do it,” Liska said. “I make art to make art, for no other reason.”

We can think of Liska as the bird in the corner of the gallery in Silent. Silence. Silenced. watching over the video screens. The sound of her voice  has cast strong shadows that challenge our questions about the future and what we might choose to make or take from the video screen.