October 6 – November 12, 2023
October 6 – November 12, 2023
AUGUST 5 – SEPTEMBER 17, 2023
AUGUST 5 – SEPTEMBER 17, 2023
JULY 21 – 23, 2023
june 10 – july 16, 2023
november 3 – november 4, 2022
september 10 – october 30, 2022
july 9 – august 14, 2022
Installation view, Keeping Things Whole, works by Erica Mao.
Keeping Things Whole features a group of artists considering human engagement with nature and its rhythms. We are interested in the idea that it is increasingly difficult—and has perhaps long been unproductive—to draw fixed boundaries between human activity and an untouched natural world. The works in this exhibition redirect the landscape painting tradition by highlighting the tools and narratives through which we document and seek to understand our environment. Insofar as we shape our landscape, the landscape shapes us. Embedded in ever-changing ecological systems, we are never physically or psychologically separate from the natural world. Keeping Things Whole borrows its title from a 1979 poem by Canadian-born writer Mark Strand:
In a field
I am the absence
of field.
This is
always the case.
Wherever I am
I am what is missing.
When I walk
I part the air
and always
the air moves in
to fill the spaces
where my body’s been.
We all have reasons
for moving.
I move
to keep things whole.
Mark Strand, “Keeping Things Whole” from Selected Poems.
Copyright © 1979, 1980 by Mark Strand.
Installation view, Keeping Things Whole, works by Akira Ikezoe, Caitlin MacBride, Christian Ruiz Berman, J.A Feng, Mariel Capanna, and Mike Glier.
Keeping Things Whole features a group of artists considering human engagement with nature and its rhythms. We are interested in the idea that it is increasingly difficult—and has perhaps long been unproductive—to draw fixed boundaries between human activity and an untouched natural world. The works in this exhibition redirect the landscape painting tradition by highlighting the tools and narratives through which we document and seek to understand our environment. Insofar as we shape our landscape, the landscape shapes us. Embedded in ever-changing ecological systems,
we are never physically or psychologically separate from the natural world. Keeping Things Whole borrows its title from a 1979 poem by Canadian-born writer Mark Strand:
In a field
I am the absence
of field.
This is
always the case.
Wherever I am
I am what is missing.
When I walk
I part the air
and always
the air moves in
to fill the spaces
where my body’s been.
We all have reasons
for moving.
I move
to keep things whole.
Mark Strand, “Keeping Things Whole” from Selected Poems.
Copyright © 1979, 1980 by Mark Strand.
INSTALLATION IMAGES
Installation view, Keeping Things Whole, works by Lisa Sanditz, Akira Ikezoe, and Caitlin MacBride.
Installation view, Keeping Things Whole, works by Lisa Sanditz, Akira Ikezoe, Caitlin MacBride, and Christian Ruiz Berman.
Installation view, Keeping Things Whole, works by Mariel Capanna, Mike Glier, and Joan Nelson.
Installation view, Keeping Things Whole, works by J.A Feng, Mariel Capanna, Mike Glier, and Joan Nelson.
Installation view, Keeping Things Whole, works by Mike Glier, Shaun O’Dell, Sky Hopinka, and Pallavi Sen.
Installation view, Keeping Things Whole, works by Mike Glier and Shaun O’Dell.
Installation view, Keeping Things Whole, works by Lisa Sanditz.
Installation view, Keeping Things Whole, works by Pallavi Sen.
Installation view, Keeping Things Whole, works by Shaun O’Dell, Erica Mao, and Mike Glier.
Installation view, Keeping Things Whole, work by Mike Glier.
Installation view, Keeping Things Whole, works by Shaun O’Dell, Erica Mao, and Sky Hopinka.
Installation view, Keeping Things Whole, works by Erica Mao.
INDIVIDUAL ARTWORKS
Akira Ikezoe, Coconut Heads in the Sheep Farm, 2022, oil on canvas, 26 x 34 in.
Caitlin MacBride, Crab Pool, 2022, oil on panel, 16 x 20 in.
Caitlin MacBride, Oyster Pool 3, 2022, oil on panel, 10 x 8 in.
Caitlin MacBride, Oyster Pool, 2022, oil on panel, 10 x 8 in.
Christian Ruiz Berman, Heartache Apparatus, 2020, graphite on paper,
7 1/2 x 7 1/2 in. unframed, 12 1/4 x 12 1/4 in. framed.
Christian Ruiz Berman, Huitzilin, 2020, graphite on paper,
7 1/2 x 7 1/2 in. unframed, 12 1/4 x 12 1/4 in. framed.
Christian Ruiz Berman, We Are Everything We Need, 2020, graphite on paper, 7 1/2 x 7 1/2 in. unframed, 12 1/4 x 12 1/4 in. framed.
Erica Mao, a creeping suspicion, 2021, colored slip on stoneware, 6 x 9 1/4 x 1/2 in.
Erica Mao, shadow walking home, 2021, colored slip on stoneware, 7 1/2 x 9 1/2 x 1/2 in.
Erica Mao, Open House, 2022, ceramic, 5 1/2 x 12 x 7 in.
Erica Mao, Roof, 2021, glazed stoneware, 5 x 10 x 5 in.
Erica Mao, shack, found again, 2022, ceramic, 9 3/4 x 4 x 4 in.
Erica Mao, wander on the glowing hills, 2022, oil on panel, 16 x 20 in.
J.A Feng, Looper, 2022, oil on canvas, 36 x 36 in.
Joan Nelson, Untitled, 2017, acrylic, ink, marker, pencil, and mascara on paper, 13 3/4 x 13 1/2 in. unframed, 21 1/4 x 20 3/4 in. framed.
Joan Nelson, Untitled, 2017, acrylic, ink, spray paint, pencil, and marker on paper, 13 3/4 x 13 1/2 in. unframed, 21 1/4 x 20 3/4 in framed.
Lisa Sanditz, Holiday Mud Hike, 2022, oil on canvas, 54 x 42 in.
Lisa Sanditz, New Growth Wine Bottle 1, 2019, porcelain, stoneware, and glaze, 15 1/2 x 6 x 6 in.
Lisa Sanditz, New Growth Wine Bottle 2, 2019, porcelain, stoneware, and glaze, 11 1/2 x 6 x 6 in.
Mariel Capanna, Traffic Light, Steering Wheel, Knees, Lawn, 2022, oil, wax, and marble dust on panel, 20 x 16 in.
Mike Glier, A light breeze through the last of the leaves in November v.4, 2020, pencil on Arches watercolor paper, 22 1/2 x 30 in. unframed. 27 x 34 1/2 in. framed.
Mike Glier, Buck Shedding Antlers, 2022, acrylic and charcoal on panel, 36 x 48 in. unframed, 37 x 49 in. framed.
Mike Glier, Robin Song v. 1, 2021, pencil on Arches watercolor paper, 34 1/4 x 27 in. framed.
Pallavi Sen, Clothes Drying by the Guava Tree, 2022, watercolor on paper, 16 x 12 in. unframed, 18 x 14 1/4 in. framed.
Pallavi Sen, Kites Flying across a Barsati with Celadon and Brick Walls, 2022, watercolor on paper, 16 x 24 in. unframed, 18 x 26 1/4 in. framed.
Pallavi Sen, Mango Harvest, 2022, watercolor on paper, 16 x 12 in. unframed, 18 x 14 1/4 in. framed.
Shaun O’Dell, Pathway, 2020, gouache and acrylic ink on paper mounted, on canvas over panel, 28 1/2 x 22 1/2 in.
Shaun O’Dell, Sighting Realignment Monument, 2021, gouache and acrylic ink on paper mounted on canvas over panel, 37 x 27 in.
Sky Hopinka, Cowboy Mouth 4 (Rek’úhuhíra), 2022, unique inkjet with hand scratched text and UV laminate, 41 1/4 x 41 1/4 in. framed.
ADDRESS
112 Water St.
Williamstown, Mass.
01267
HOURS
Thursday: 11 – 6pm
Friday: 11 – 6pm
Saturday: 11 – 6pm
Sunday: 12 – 5pm
ADDRESS
112 Water St.
Williamstown, Mass.
01267
HOURS
Thursday: 11 – 6pm
Friday: 11 – 6pm
Saturday: 11 – 6pm
Sunday: 12 – 5pm