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X-WR-CALDESC:Events for Barn Gallery - Ogunquit Art Association
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DTSTART;VALUE=DATE:20190807
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SUMMARY:Late-Summer Exhibitions at Barn Gallery
DESCRIPTION:The Ogunquit Art Association (OAA) – Maine’s Original Artists’ Group | est. 1928 – is celebrating their 91st Anniversary in 2019 with a variety of exhibitions\, gallery talks\, demonstrations\, workshops\, and more at their Barn Gallery headquarters (located at the corner of Shore Road and Bourne Lane). \n \nThis exciting season of art exhibitions and programs by artists of the Ogunquit Art Association continues with their Late-Summer Exhibitions which run from August 7 through September 7 (with an Opening Reception on Saturday\, August 17th from 5 – 7:30 PM). \nBarn Gallery is located at the Corner of Shore Road & Bourne Lane in Ogunquit\, Maine. \n  \nAt A Glance:\nLate Summer Exhibitions: August 7 – September 7 \nWater\nOAA Expressions\nNew Members \nShowcases:  \n\nCarol Aronson-Shore – Painting\nLindley Briggs – Sculpture\n\nInvited New England Sculptors \nGala Reception: Saturday\, August 17th (from 5 – 7:30 PM) \n  \nAdditional Information\nLate Summer Exhibitions include “Water” (a themed show by members\, old and new\, of the Ogunquit Art Association)\, PLUS “OAA Expressions” (an exhibition with a wide variety of subject and medium)\, invited New England Sculptors exhibit in the outdoor Sculpture Court\, and showcases in the North Gallery by painter\, Carol Aronson-Shore\, and sculptor Lindley Briggs. \n  \nAbout Carol Aronson-Shore:\n\n		\n		\n			\n				\n			\n				\n				Carol Aronson-Shore | “Summer Angles of Light ” (left) 30″ x 30″  and “Winter Angles of Light”  (right) 30″ x 30″\n30″ x 30″\n				\n			\n		\n\nCarol Aronson-Shore is a contemporary realist painter whose landscapes\, still lifes and figurative compositions transform an observed reality into a poetic and evocative experience. \nLight\, its presence and absence\, its transformations of form and color\, its character and symbolism\, is a common thread that runs through her work. In her paintings it becomes a metaphor for insight\, vision and transformation. \nHer work has been exhibited in over 100 juried and invitational group exhibitions and in 19 One Woman Exhibitions in New York\, Chicago\, San Francisco and other cities across the country. Her paintings reside in many private collections and such corporate collections as Fidelity Investments and Chubb LifeAmerica\, which featured her painting on their corporate calendar. \nNathan Goldstein included one of her figure drawings in his text\, “Responsive Drawing” (3rd ed.). A landscape painting from the collection of the Bank of New Hampshire in Manchester\, part of her series called “Icons to Nature” is reproduced in “New Hampshire: The Spirit of America\,” a Harry Abrams 2000 publication. The White House Historical Association selected Carol to represent the state of NH by commissioning a painting for the 2000 Bicentennial Celebration of the White House. She created an historical narrative called “The Green Room\, A Setting for History – Our National Day of Thanks” featuring New Hampshire’s Sarah Joseph Hale and President Lincoln in the Thanksgiving Day story. This painting was reproduced in the White House 2000 calendar and is part of the permanent collection of the White House Historical Association. \nThe New Hampshire State Council on the Arts commissioned two of her paintings for state buildings\, the New Hampshire Fish and Game Department Headquarters and the Rockingham County Courthouse. She has twice been a recipient of a New Hampshire State Fellowship in Painting. In 2001\, the Council commissioned her to create a painting for their Governor’s Awards in the Arts. Carol recently completed a commission for the new offices of Guy Carpenter & Company to replace her painting lost in the World Trade Center. \nLearn more about Carol Aronson-Shore: carolaronsonshore.com \n  \nAbout Lindley Briggs:\n\n		\n		\n			\n				\n			\n				\n				Lindley Briggs | Detail of ‘Winged Migration’\n				\n			\n		\n\nARTIST STATEMENT \nNow that I am in the Venus of Willendorf stage of my life\, my interest in the human figure has been rekindled. I have come to a new appreciation of the beauty of the human form. As a result\, I have been integrating even more of human figure into my visual vocabulary. My goal is not a literal portrayal of the nude but an conceptual\, symbolic archetype. The figures are heroically perfected. I create the idealized figurative form that all of us aspire to but rarely possess. Although stylized\, they possess a high degree of realism. They are sculpted in the form of wall reliefs\, small free standing sculptures and medallions. Through my sculpture\, I hope to express my feelings about the human condition as well as my feelings about the infinite levels of male/female interaction and the environment that surrounds them – earthly\, celestial or aquatic. \nThe boundaries between fantasy\, reality and surreality are not necessarily firm. I love to explore and manipulate these amorphous boundaries. For years I have created fantastic winged\, feathered and finned creatures in both two and three dimensions. My creatures are seldom purely realistic. They are whimsical\, anthropomorphic and capricious. They fly\, swim or otherwise waft through their environments. They are inspired by my lifelong fascination with the beauty of natural forms – clouds\, shells\, stones\, branches\, wings and the fanciful imagery from classical Greek and Roman mythology. \nThe sculptural elements of clouds\, shells\, wings\, and fragments of human form (faces\, heads\, hands\, eyes and torsos) have always captured my imagination. I find that fragments can be more powerfully evocative than the whole from which they are extracted. I enjoy arranging fragments symbolically. The arrangements are intended to evoke the fascinating complexity of human relationships and interactions by means of their positioning. Since all the elements of my work are all designed separately\, at times they are presented on their own as miniature sculptures. It is my intention that my individual works as well as the arrangement of my multiples contain depth\, meaning and relevance in the twenty first century. \nLearn more about Lindley Briggs: briggssculpture.com \n  \nAdditional August Events:\nBarn Gallery’s exciting schedule of gallery talks\, demonstrations\, and workshops continues through August. \nGo to http://barngallery.org for information about Artist Talks\, Workshops\, and Demonstrations including a mixed media workshop by Ethel Hills: “Bands of Color in Watercolor & Collage” (8/13); an “Open Critique – Any Medium” by Dustan Knight (8/14); a Gallery Talk by showcased artists Carol Aronson-Shore and Lindley Briggs (8/15); and a Painting Workshop by Shiao-Ping Wang: “Chinese Brush Painting” (8/21). \nPLUS\, Capriccio: Ogunquit’s 29th Festival of the Arts – occurs on September 6 – 13\, 2019. \nGallery hours are 11 AM to 5 PM Monday – Saturday and 1 to 5 PM on Sunday. \n  \nDOWNLOAD: Barn Gallery Quick Calendar Of Events\n 
URL:https://barngallery.org/event/late-summer-exhibitions-at-barn-gallery/
LOCATION:Barn Gallery\, 3 Hartwig Lane\, Ogunquit\, ME\, 03907\, United States
CATEGORIES:Event
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ORGANIZER;CN="Barn Gallery":MAILTO:oacbarngallery@gmail.com
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