This woman is really amazing.
She is a retired attorney who produces artwork like she has been an art pro all of here life. And, doesn’t stagger or falter at any change in subject.
She is not on Facebook other than to do family things and uses social media sparingly otherwise, and since I am a big fan…I told her I would put her out her in social media land.
Anne at the Berwick Library shows the full range (though honestly, I wish I had helped her hang the show) of her brilliance. Her piece, called “The Refugee” brought tears.
This show will be up through the end of the month. Her opening reception is April 21, from 5-7 at the Berwick Library,Berwick, Maine.
Here is her statement:
I have been painting in oils for some years, but my work has increased since
I retired to lovely rural Maine, to be near children, in 2010, with my husband Niles
Schore. Maine has lots of family history for me: I have four wonderful daughters
(all born in Maine) and my four grandchildren, all who live in New England. My
father’s family is from Bowdoinham. My childhood was spent in Texas, but I
spent my high school years in Massachusetts as a farmer’s daughter on a dairy
Before my 2010 retirement, I worked as an attorney for legal services
programs in Pennsylvania, representing my clients in need of services and
supports. My last employment was providing constituent services for Pennsylvania
Congressman Joe Sestak. I loved the work I was able to do in both jobs. I also
served as a docent for the Philadelphia Museum of Art, designing and giving
tours to our visitors throughout our museum for 10 years. This too was a highly
rewarding volunteer occupation.
I have had a life-long love of art and art history and painting, and now in
retirement I have the chance to indulge this love in my own works. I belonged
to two art groups in Pennsylvania, and now I am a member of and have enjoyed
exhibiting with our local Berwick Art Association, Kittery Art Association and
the Seacoast Moderns and the York Art Association, and our own local Blackbird
Studio and Gallery. In addition to participation in these shows I have displayed my
paintings at Ben Franklin, Second Landing, Poppy Seed, Sarah Orne Jewett House,
University of Southern Maine, and in libraries in Rochester, Dover, Somersworth,
North Berwick and Durham.
My art work varies in subject and treatment, from landscapes to still lifes
to abstracts and family portraits and works with a political theme influenced by
my work as an advocate for disadvantaged people as well as reflecting on current
world events. I look forward to the continuing expansion of the art community in
our region and am proud to be a part of it.
I can safely say that I saw some very high quality art today!! What a treat! And, I had “time to kill”, which as an artist means that I need to find something to draw on or, take in the answers others can give to you from their own visions. So, the perfect excuse!!
I have been meaning to get to the Gallery at 100 Market Street in Portsmouth to walk this show. I show here fairly often and the parameters of this show would have necessitated new work that I had no time to create. But, because I have a great respect for the curator and the quality of the work that she presents, I needed to make it a point to see “Guise, Garment and Textile”.
OK, I was hooked right here! The props and the photos of them on the “family” made it all too relevant. It almost felt like “Antiques Roadshow” where a participant shows up with the antique and all sorts of provenance.
David Mendelsohn is an acquaintance I very much admire, though he does push a feminist button or two with his work, when he eliminates heads and covers them with hat boxes.
Denis Perrin’s work, including “Watching for Swallows” was so historically perfect I had to wonder if he was born 150 years ago. Style, paint and application was too incredibly European Impression, almost Berthe Morisot.
The 3rd floor belongs to Caroline Rufo. This articulate abstract craftswoman reinvents the likes of Richard Diebenkorn and all other painters who have taken their compositional inspiration from aerial photography. Her titles, like “Seeking Union” also allude to architecture and building, in the emotional sense.
But, there is sometimes a sour note in a show this well executed. And, it is on the 4th floor, which tells me that it is good enough for the show, but maybe it needed to be on the 4th floor-for political reasons.
I am native American, so a piece like this entitled “The Raiding Party” was not a happy end. From purely aesthetic principles, a well-articulated and executed piece-but it smacks of knowing nothing of the Trail of Tears or any of the other atrocities that my people dealt with.
Overall, this show is one of the best that Portsmouth has offered in a long time. And, since I am very pro First Amendment, I applaud all of the work in this show, whether or not I agree with politics or philosophy, because of the quality of the execution.
The Gallery at 100 Market Street in Portsmouth is open Monday-Friday on all 4 floors. The 3rd and 4th floors are not available on the week-ends. This show runs through mid-February.
I am the master of taking something totally unexpected and making it work. I guess that comes from growing up in a reasonably dysfunctional household where some things were not in the general script, and I learned how to “wing” it.
Friday night, I met someone at the Portland Museum of Art, so we could share what was on display. Once we were through with the Paley collection, he announced that he can only do two hours of art, and had other things he needed to take care of. I am a sponge for good art, and realized as we took in the Picassos and Matisses, how somewhat starved I was for this kind of visual stimulation. I flatly stated that I was going to stay and see what was on the 2nd and 3rd floor. My departing date gave me permission, like I needed it. (I don’t think I’ll see this person again.)
So, I went upstairs to see the permanent collection of work which is primarily from the Impressionism through contemporary. Refreshing! I’d like to note here that though this museum may pale in stature to the MFA in Boston, it is comparable in quality.
On to the third floor, where, when I saw the huge Ellsworth Kelly, I decided a little documentation was in order. I found a docent who I asked about the photo policy. This museum has a policy that allows non-flash photography of work that belongs to the museum, and the name card have an icon which shows which ones are not. Unfortunately the Kelly is not theirs, and the Louise Nevelson photo was out of focus.
The young docent had also told me that the Paley Collection could be photographed even though it was on loan from MoMA. So, after taking a couple more quick ones upstairs, I went back down to the main floor.
These are both from the “Taste for Modernism” exhibit.
And, on the third floor is this remarkable piece called “Books in the Running Brook”, Alison HIldreth. This is part of their permanent collection. My only problem with this piece is where it is hung. It is impossible to take in the full impact looking directly straight at it.
After I departed the museum, I still wasn’t done. And, I shot a few photos, thus creating a little art of my own…
I made it a good night!!