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, Faraway Nearby, works by Beverly Acha, Sean Sullivan and b chehayeb
1 Rebecca Solnit, The Faraway Nearby (New York: Viking, 2013), 108. In naming the show, we echo the title of Solnit’s 2013 book. Solnit’s title in turn references Georgia O’Keeffe’s letters to loved ones following her move from New York to rural New Mexico, which the artist signed, “From the faraway nearby.” We’re interested in the collapsible, mutable, and personal experience of place that O’Keeffe’s poetic sign-off suggests. The quotation cited above illustrates Solnit’s interpretation of the artist’s intentional phrasing. Lucy Lippard’s The Lure of the Local and Miwon Kwon’s One Place After Another also shaped our thinking while putting together this exhibition.
The artists in this exhibition work from memory or direct observation to translate their understandings of place. The psychological and sensory qualities of physical
surroundings inform the formal and material explorations of Beverly Acha, Mary Lum, and Sean Sullivan. Michele Abramowitz focuses on optics and the perception of space. Becky Suss, b chehayeb, and Kevin McNamee-Tweed all conjure the plasticity of place-based memory and narrative through their renderings of significant objects and symbols. William Burton Binnie considers how land acts as both document of and witness to human activity. Sanou Oumar, Carlos Rosales-Silva, and Kemar Keanu Wynter all engage with the remembered spaces of their respective childhoods. Oumar and Rosales-Silva draw on the architectural structures and visual patterns
of the cities and landscapes they grew up in, while Wynter references foods from his youth to explore the interconnectedness of family, cultural history, and home.
As the pandemic has prompted many of us to renegotiate our relationships to place, we look to the possibilities suggested by this group of artists to interpret our ever-shifting surroundings.
1 Rebecca Solnit, The Faraway Nearby (New York: Viking, 2013), 108. In naming the show, we echo the title of Solnit’s 2013 book. Solnit’s title in turn references Georgia O’Keeffe’s letters to loved ones following her move from New York to rural New Mexico, which the artist signed, “From the faraway nearby.” We’re interested in the collapsible, mutable, and personal experience of place that O’Keeffe’s poetic sign-off suggests. The quotation cited above illustrates Solnit’s interpretation of the artist’s intentional phrasing. Lucy Lippard’s The Lure of the Local and Miwon Kwon’s One Place After Another also shaped our thinking while putting together this exhibition.
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INSTALLATION IMAGES
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