August 23 – September 15, 2024
August 10 – September 15, 2024
August 10 – September 15, 2024
June 29 – July 28, 2024
June 29 – July 28, 2024
May 18 – 25, 2024
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
August 23 – September 15, 2024
August 10 – September 15, 2024
August 10 – September 15, 2024
June 29 – July 28, 2024
June 29 – July 28, 2024
May 18 – 25, 2024
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, At Finger’s End, works by Michael Cuadrado and Rina Goldfield
At Finger’s End foregrounds Michael Cuadrado’s and Rina Goldfield’s explorations of how we visualize, concretize, and represent immaterial and vast abstract systems and lived experiences. The show’s title is a reference to a line in an Emily Dickinson poem, “At my finger’s end,” paraphrased and recontextualized by Amy Sillman in the artist’s 2020 essay “Notes on the Diagram” published in The Paris Review: “At finger’s end, beyond the graph, off the chart, in the realm of not-knowing, lay the weird unformed excess, the chora, not information.” Goldfield’s and Cuadrado’s work emerges from this space of improvisation and unknowns.
Installation view, At Finger’s End, works by Michael Cuadrado.
Often immersed in archival research, Goldfield explores processes of reading, learning, and retaining information in her “book paintings” and works on paper. She embraces chance, using marbling to drive her application of color—a technique long used in bookmaking to adorn (and differentiate) book covers and endpapers.
Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield
Cuadrado considers longing, desire, love, compatibility, and heartbreak in new paintings driven by a penchant for astrology, mysticism, and science. Each artist inserts indices of the human body: Goldfield, for example, reproduces signs of wear from use on her painted book pages while Cuadrado often includes signs of his own shadow in his compositions. Grids also appear in both artists’ work as ways to systematize and quantify the infinite, bending and curving as our systemic approaches to symbol and space break down.
Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield
At Finger’s End foregrounds Michael Cuadrado’s and Rina Goldfield’s explorations of how we visualize, concretize, and represent immaterial and vast abstract systems and lived experiences. The show’s title is a reference to a line in an Emily Dickinson poem, “At my finger’s end,” paraphrased and recontextualized by Amy Sillman in the artist’s 2020 essay “Notes on the Diagram” published in The Paris Review: “At finger’s end, beyond the graph, off the chart, in the realm of not-knowing, lay the weird unformed excess, the chora, not information.” Goldfield’s and Cuadrado’s work emerges from this space of improvisation and unknowns.
Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield
Often immersed in archival research, Goldfield explores processes of reading, learning, and retaining information in her “book paintings” and works on paper. She embraces chance, using marbling to drive her application of color—a technique long used in bookmaking to adorn (and differentiate) book covers and endpapers.
Installation view, At Finger’s End, works by Michael Cuadrado and Rina Goldfield
Cuadrado considers longing, desire, love, compatibility, and heartbreak in new paintings driven by a penchant for astrology, mysticism, and science. Each artist inserts indices of the human body: Goldfield, for example, reproduces signs of wear from use on her painted book pages while Cuadrado often includes signs of his own shadow in his compositions. Grids also appear in both artists’ work as ways to systematize and quantify the infinite, bending and curving as our systemic approaches to symbol and space break down.
INSTALLATION IMAGES
INDIVIDUAL ARTWORKS
Rina Goldfield, A Short Space, 2023, oil and steel on canvas, 48 x 36 in.
Rina Goldfield, Green Eggs and Flowers, 2023, oil, steel, magnets, and gampi paper on canvas, 48 x 36 in.
Michael Cuadrado, Break for Love, 2023, oil on canvas, 24 x 30 in.
Michael Cuadrado, Untitled, 2023, oil on canvas, 14 x 14 in.
Michael Cuadrado, In Between Shadows, 2023, oil, charcoal, and inkjet print on canvas, 40 x 36 in.
Michael Cuadrado, Secret Ways to Know Each Other, 2022, chalk pastel and inkjet prints on paper, 45 x 38 in.
Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.
Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.
Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.
Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.
Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.
Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 in. framed.
Rina Goldfield, Waves, 2023, acrylic and cellulose glue on BFK paper, 22 1/2 x 15 in. unframed, 25 1/2 x 18 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