New and improved written intro material for shows and art comments
The fun never ends! I had gotten a bit complacent, and then I got an email from Malynda requesting information for advertising, and images. I am hoping that much of what is in the livingroom started, will be done and on her walls in 3 weeks. Time to get moving!
So, rather than repost it on FB from Word, I can repost it on LinkedIn and twitter this way, as well as have my blog readership get to know that much more about me.
So, here’s this:
Daryl-Ann Dartt Hurst
Biography and statement:
It is always so tempting to start these with the Steve Martin line, “I was born a poor black child.” Not quite-middle class and white, with some native American and Hispanic blood, and most certainly from southern California. Hurst was born at Edward’s AFB. She grew up in the San Fernando Valley dreaming of being a fashion designer and then a famous poet.
She graduated in 1972 from high school, and took a year to save money and work before college. With parents that did not have the means, she held down jobs during her college career which extended considerably longer than most-but with no student loans, and totally self-supported, she got her BA in 1985, and did work toward an MA in 1986.
In college, she started as an English major. In her second semester she had Peter Plagens for Beginning Design. Plagens, who went from professor to critic at Newsweek, was the major catalyst for Hurst to revisit visual arts. Bob Smith, who ran LAICA until the Reagan change in funding also supported her. She was also fortunate enough to have Donal Lumbert as her primary mentor, along with Bruce Everett. Karen Carson and Houston Conwill were also influencial.
In 1986, Hurst moved from California to Maine and then New Hampshire. She already had started “breaking ground” in her career, and had shown numerous times in southern California, but love brought her to Maine, and then south, to New Hampshire. And, once getting “grounded” in New England, she showed in Boston (solo and group shows), Portsmouth (solo), and Chicago and New York (group). The rest of the resume is on the website.
Life and times bring us to now. When Hurst got off the plane in Boston last October, after visiting Mom, she decided that it was “now or never”. She had started the “artinsmallplaces” blog in July, with the idea of promoting small venues in out-of-the-way-places. Malynda Forcier responded to that and is part of a project called “Connect the Dots”, which will also promote out-of-the-way places and artists.
Since October, Hurst has had solos in Rochester, NH; Newmarket, NH; and now, here, in Tamworth. She is also in a private show in Portsmouth, NH. Following this is a solo at the Rochester Public Library, Rochester, and then at a women’s non –profit in Manchester, NH. She is scheduled in group shows in Newmarket, Portsmouth, and Kittery, Maine, also in the next few months. She is also curating The Stone Church, an old meeting house that is now a restaurant, a music venue and an art venue.
“I am hoping to perpetuate the energy I am seeing in the area. I also want to help to open up more venues to this artistic energy.”
“ My work bridges so many eras and styles. I am experiencing nature and recording it. I have never regarded myself as a landscape/nature painter until I was at Mom’s. After we went to Rocky Boys Indian Reservation, I painted “Rocky Boys 1”. “Rocky Boys 2”, and both “Glaciers” come from that trip, too.
“Another Compass For Another Mountain” is the title of this show. “I hope with these works to not break out of my 16-square grid, but to add dimension to them. This grid has followed my artistic career for a very long time, and I almost want to just call the rest ’16’. But, as I push the boundaries, the grid disappears in places, and fluctuates from piece-to-piece in importance. It’s not about the grid, it’s with the grid.”
“Another Compass… #3” exemplifies the push away from the obvious grid as well as most. It was a very experimental piece, and in early stages, included print. As paint was added, the print got covered and the paper became just an interesting surface. “Another Compass…#4” jumps another several leaps, adding the woven piece of scrap canvas.
By in large, most of the work is quite flat, geometric in orientation, and plays with Cubist planes and spacial ambiguities. The watercolor-mixed media pieces, in some cases, are meant to be intimate reactions to larger events-all of the “Dancing to Irene” sub-series describe the hurricane.
“I have never dealt with the Whites as ‘the other mountains’-I guess it’s time.”
So, that’s that.
The rest of the time since the “job” has been about artinsmallplaces. I went into downtown Portsmouth, once again in hot pursuit of a new venue. Not that I need one, because I am booked through July. But, I’m on this really nice roll.
First stop was Portsmouth Regional Hospital because I was told by a co-worker that they did rotating original art shows. And, yes, they did, until about a year ago. I dealt with one incredibly sweet staff member who tried very hard to persuade me to try Wolfeboro, and one very nasty, rude staff member who wanted very little to do with anything I wanted to know.
I ventured forth to the Portsmouth Public Library. I have never been in the new library (which was new about 15 years ago), and what a space! Since this well be the third year for me to display at the Rochester Library, I guess I like libraries-at least that one! I like this one too. So, I was given not a ton of information, but a contact. And, I thoroughly enjoyed the show that is up now, which is work from students of all the area schools. The next generation of artists here is certainly showing promise!
I scooted up 95 to York, Maine, to check out the York Art Association. I went the long way, which took me by the beach, and some serious road damage. We have not had enough storm for that, I don’t think. The Association, though posted to be open from 2-7 on Fridays, and I got there at about 5, was closed. I peaked in the window, but I could not see much. They have done some interesting sounding shows recently.
Back to Kittery. I confess that since I had an extra 1/2 hour and I was hungry, I dove into a Whopper. At Buoy, right in downtown Kittery, I ran into Mike from the Kittery Art Association.
“Art PM” was designed as a personal challenge to each artist to give to themselves for the month of February and deliver the finished piece to be displayed this month. I had a great piece to show, though I gave the challenge to myself earlier-both “Another Compass…#3”, and “Another Compass…#4”. I passed on driving to Kittery in the snow, which was why neither were there. I don’t mind the art challenge; risking life-and-limb to get it there, not so much.
Tight salon-style hanging is admittedly not my favorite, and this stuff did go all the way to very close to the floor. But, there was some “stretching”. Alan Annon’s self-potrait wasn’t finished, and it was obvious that he was really purging how he feels about himself. This is not the perfect studio Impressionist portrait that I recognize from him. It’s much deeper.
Other than his, I have not got enough familiarity with individual artists works that I saw and identified. I missed Renda Brooks’ piece. Lennie Mullaney’s work I have been invited to view at her MFA show. And, I thought Ann Howland would have something in this show, but I couldn’t find it.
A worthy effort. Bravo to the artists who took part, and braved the weather.
Posted on 03/09/2012, in art, galleries, Maine, NH, opening reception and tagged Ann Howland, Buoy Gallery, Daryl-Ann Dartt Hurst, Gatehouse Gallery, Kittery Art Association, Malynda Forcier, Portsmouth Public LIbrary, Renda Brooks, Rochester PublicLibrary, York Art Association. Bookmark the permalink. 3 Comments.