James Hull was Curator and director of Exhibitions from October 2007 - January 2013

 

Highlighted exhibitions are featured below:

System Presence: New Sculpture by Jonathan Hils
September 15 - November 5, 2012
Reception: Friday, September 21, 6-8 PM

"Through" (2012) welded and powder coated steel 46x38x26

Suffolk University Art Gallery is pleased to present the first solo exhibition by Jonathan Hils in Boston. Hils has exhibited his sculpture widely and has won many public and private commissions. He is currently an Associate Professor of Sculpture at the University of Oklahoma School of Art & Art History where he oversees the Sculpture Department. Hils was born in New Hampshire and received a BFA in Studio Art at Georgia State University and an MFA in Sculpture at Tulane University.

Working primarily with welded steel assemblages that investigate the impact of scale on systemization and chaos, Jonathan Hils constructs modular patterns that seamlessly combine to create a larger whole. The systematic approach to fabricating hundreds of small elements, bent and welded one by one to each other, to create a larger object is an inherently obsessive one. This requires a consideration of negative space, density and the systems used to create the pattern. To describe a shape, Jonathan expands a surface arrangement from a fine netting to a bigger, more open pattern by elongating the “module” of curved steel rod. Hils taps into the relationships that actually create organization and composition– especially relationships of presence and absence– using them to define both the interior and exterior simultaneously.

Hils refers to the regulated patterns that Frank Stella used to make “The Black Paintings” saying, “everything I do is closely associated with systemics, and bio-computational generating forms. Stella's systemic painting principles were a great influence on me. The way he approached "making" something just made perfect sense to me.” Hils explains, “I've always been interested in the synthesis of industrial and organic structural aesthetics. Sculpturally, this combination of computational organizations is evident in CAD 3D modeling and generally relies on formulated or logical numerical constructs. My objects and drawings rely on an analog process which delineates space and form exclusively through line– specifically focusing on intersections and densities as methods for organizing space. The sculptural forms also aim to open form and volume.”

Like the veins on a leaf, each hypnotic sculpture consists of a web of lines and the negative spaces between them resulting in a seeming paradox for a 3-D work of art. These expansive drawings in space direct our attention to their recurring internal symmetries rather than referencing an external or illusionistic space. A poetic elaboration on fractal and organic geometries, these steel sculptures and laser etched drawings are the harmonious intersection of science, art and nature.

– James Hull, Curator

instal_jhils


Past Exhibits 2012:

Biennial Faculty Exhibition 2012

May 25 - July 29, 2012
Closing Reception: Saturday, July 28 3:00 - 4:00 PM

nesad faculty image 2012

Featuring Fine Arts and Foundation Faculty artists from NESAD/SU:


Sophia Ainslie
Ilona Anderson
Paul Andrade
Harry Bartnick
Bebe Beard
Linda Leslie Brown
Niels Burger
James Hull
Jeffrey Hull
Audrey Goldstein
Steven Novick
Matt Aaron Templeton
Peter Thibeault
Randal Thurston
Debra Weisburg

 


Arthur Henderson: WORDLY

January 14 - February 17, 2012

Public Reception: Saturday, January 21, 5 - 7 PM

 

Arthur Henderson, Ginsberg (L) (2011) detail with added text - Napoleon (R) (2010)

 

Arthur Henderson: WORDLY
January 14 - February 17, 2012

Suffolk University Art Gallery at NESAD proudly presents a solo exhibition of Arthur Henderson’s sculptures, drawings and installations. Showcasing an impressive range of media, craftsmanship and subject matter, these works combine the intellect and irreverence typical of Henderson’s work.


Conceptually dense and materially loose, the energetic assemblages and scrawled narratives read like protest banners. Smart and complicated, the constructions rely on control of imaginative materials and carefully articulated surfaces to actively cross-pollinate painting and sculpture.


The works boast a heady range of sources from J. L. David’s portrait of Napoleon to the legacy of Allen Ginsberg, to Zeno’s paradoxes to a silly putty print of a Bruce Nauman text piece. Intuitive expression adds sophistication to narratives effectively restrained by everyday materials and revved up by a great color sense to create profound, cartoony and slightly ominous creations.


Part realism and part expressionism, Henderson illustrates his cultural references with painted details on objects made of plaster, carved and molded plastics and even cement. These stand-ins for consumer mascots are integrated into animated conglomerations that allow figurative work to leverage humor and still resonate with cynicism.

– James Hull

Arthur Henderson, These Stories Are Real (2010)

 


Past Exhibits 2011:

Tara Sellios: Lessons of Impermanence

November 10, 2011- January 11, 2012

Link To Cate McQuaid's review in The Boston Globe: Here

November 10 - January 11, 2

Opening reception, Thursday, November 10, 5 - 7 PM

In her first solo exhibition, Tara Sellios balances some of our most deeply felt emotions with our darkest fears. Sickness, repulsion, and death vie with gluttony, luxury and beauty within a surprisingly traditional format. Utilizing her drawing and painting training to sketch out these formal compositions, this gifted young artist continues the history of using still life painting as a metaphor for our mortality. Sellios cleverly offsets the overt, dripping juice of raw meats, slimy guts and slaughtered creatures with the subtle beauty, irresistible color and clarity captured in these gorgeous large format photographic compositions. The luxurious surfaces, shiny with carnality and luminously lit by window light, sit unwrapped and vulnerable, leaking into the soft textures of the tablecloths.

tara duck


In these visceral tableaux the artist focuses our attention on the uncomfortable connection between our living bodies and the dead flesh, organs and animals we call food. The cover photograph uses the messy aftermath of a lobster dinner to silently attest to the violent force used to break open the shells and devour the succulent meat inside. Pictured like this the scene feels like a table top battlefield full of hollow carcasses. Other works from the “Lessons of Impermanence” series are more intense–requiring more color to balance out the range of emotions generated. Glass bowls filled with blood spilling on a tablecloth wield the chromatic power of red, glowing color without diluting references to pain and mortality.

The Intriguingly detailed and emotionally charged compositions draw a viewer closer to the surfaces while the butcher shop intensity of the skinned animals we see remains repulsive. But like children probing a dead bird with a stick, our curiosity makes us peer into the compositions to discover what everything is and examine the corporeal. In a recent interview, Tara told George Slade, “My photographs, especially at full scale, force the viewer to see the explicit detail prevalent in the image, no matter how generally grotesque the subject matter may be. However, by using the aesthetic sensibility of painting, the viewer is often seduced by the image’s beauty and can not help but want to look at these fearful, vile arrangements. It is my way of pursuing the age-old sensibility of the vanitas still life, using beautiful, seductive images to successfully introduce unappealing, frightening
motifs.”
– James Hull

 


Line Bruntse: Organs, Orphaned

a site specific installation

September 16 - November 5, 2011

Reception: Friday September 16, 5 - 7 PM

Artist Talk: Thursday, November 3, 1 PM


 

Paris Visone: Culture of Looking

July 15 - September 4, 2011

PDF of Press Release HERE

 

Paris Visone combines portraiture and documentary work to create a compelling investigation of american popular culture through the example of her own life. She has committed her time and energy to a long term view of people and places she knows as well as anything in her life: the homes and members of her own family. But the editorial choices and almost decade long investigation of them is revelatory. The dedication to photographing almost every aspect and activity of her extended family has forced them to quit posing for her pictures and just do whatever they were doing. What is revealed in the the shifts between public and private and between those with subjects aware of the camera to many completely unaware give her work both unquestionable authenticity and a resonance with our country as a whole.


The seemingly contradictory identifiers of income, taste or class are underscored by the locations that frame them: Boca Raton, Florida, Peabody, Massachusetts and Nantucket, Massachusetts. The trendy look of Florida’s glittering, tan and sexy styles abruptly transition to the mix of styes layered into a savvy, city, street look in New England. The images that represent these locations are as much caricatures as they are documentary truths. Using familiar repeated characters which effortlessly slip from one lifestyle to the other Visone’s photographs force us to realize the assumptions we are making about “types” of people are as shallow as the postcards stacked in the storefronts.


A cultural overview, a fashion conscious snapshot of America, an insider’s portrait of two different sides of a typical family, or an edgy take on environmental self portraiture, these images are rooted in documentary. And that may be the most interesting thing about them. How do you recognize while you are inside a family that it is emblematic of something larger? Can you really be objective? Do you even need to be objective about such subjective topics to record them for others?


Like people watching, there is something irresistible about looking at photos of regular people. We see ourselves, we see fashions we laugh at, wish we could still wear or would never touch. We see natural beauty and we see garish artificiality. Paris uses her family and friends to record cute looks and tacky ones in the same light– and we catch ourselves making all the judgments and playful jabs that as kids we would make at the mall or as adults in traffic or on the subway. She takes us along as she gathers evidence of how “hard wired” we are to visually compete with one another for attention. By using such empathetic subjects Paris Visone reveals how looking at these photographs perpetuates the cycle of this “culture of looking”, indicting and rewarding us in equal parts for our participation.


Also on view: A series of photographs taken for Debbie Harry during the “Blondie Endangered Species Tour”. Using her unobtrusive style of camera work Visone captures backstage shots which describe the duality of aging punk rockers, groupies and the realities of life on tour.

- James Hull, Curator

Paris Visone, "keet" (2011) digital c- print 20 x 30 inches

Paris Visone, Swap Shop, Boca Raton, (2009) digital c - print

More Paris Visone images from the exhibit

Artist's Web Site


Past Student Exhibits & Artist Talks 2011:

Spring 2011 NESAD Student Exhibitions at SUAG
Foundation Student Exhibition
March 27 - April 7, 2011
Opening Reception: Thursday, March 31, 5 - 7 PM

Graphic Design Student Exhibition
April 9 - April 22, 2011
Opening Reception: Friday, April 15, 5 - 7 PM

Fine Arts Student Exhibition
April 24 - May 6, 2011
Opening Reception: Friday, April 29, 5-7

Interior Design Student Exhibition
May 8 - May 23
Opening Reception: Friday, May 13, 5-7

 

Past Curated Exhibitions:

 

 


 

Chido Johnson: Domestified Angst: Third Recording
November 12, 2010 - January 15, 2011
Opening Reception: Friday, November 19, 5 - 7 PM

Art Papers Magazine review by Christian Holland: PDF> here

link to online version of review here:

 


Chido Johnson >> Artist Talk: Friday, November 19, 4 :30PM
Location: Gallery

Chido Johnson, I swallowed two seeds (2008)

plastic flowers (flame lily and yellow rose)

carved wooden oval mirror frame


Lecture series continues >> Artist Talk: Kanishka Raja: Tuesday, November 16, 1 - 2:30PM
Location: Gallery

 


Past Exhibits 2010:

Danielle Krcmar: Forbidden Understanding
September 8 - October 31, 2010
Reception: Friday, September 17, 5 - 7 PM
Artist Talk: Tuesday, October 19, 1 - 2:30 PM (in the gallery)

75 Arlington Street (2nd Floor) , Boston, MA 02116
Gallery is free and open to the public:
M-Th 9am-9pm, F-Sat 10am-5pm

 

Danielle Krcmar exhibits two related groups of figurative sculptures in her first solo exhibition at Suffolk University Art Gallery. In each, Krcmar investigates the depiction of romantic desire by reconstructing and altering single viewpoint images (paintings, photographs) as multifaceted sculptures. In doing so the artist uncovers how they illustrate the changes in cultural ideals of beauty and temptation over the centuries.

Krcmar bases an isolated standing figure on the John Singer Sargent portrait of Madame X (Madame Pierre Gautreau). Krcmar edits the referenced historical painting to exaggerate the symbolism it contains. The artist has removed the controversial clothing from Sargent's Madame X completely (her loose shoulder strap caused a scandal at the Paris Salon in 1884) and exposes a sexy fictional "X" tattoo on her back. The pictorial space of the image is expanded into three dimensions and the resulting depth allows us to "enter the composition" from a variety of perspectives including a view from the rear of the subject revealing the tatoo. The other standing figure references Dürer's painted version of the quintessential romantic temptation: Adam and Eve. Here Krcmar recontextualizes Eve and the serpent by omitting Adam. A quantity of additional apples surrounding Eve's feet contradicts the original symbolism of the single apple so we reexamine exactly what is happening in the scene. Temptation, knowledge, original sin, what do those apples represent?

Krcmar also adroitly sets up the differences between the symbolic body shapes of Eve and Madame X as the contrast between two archetypal female roles: object of desire and fertility goddess. For the artist, how the female figure is pictured and where becomes "a lens to see how opinions concerning the depiction of desire, pleasure and beauty change over time." A woman posing proudly with chin raised, hair up and whitened skin (except for the ears) speaks both to social pressures of her class and the luxury of entitlement. Eve plays another familiar role for the female body in art as the "Fertile Madonna" of the renaissance with a rounded tummy, ample breasts and long flowing hair.

Updating her survey of desire, Krcmar created a large series of shoulder-length busts from the text and photos of personal ads found on craigslist.com. Based on postings by both men and women these portraits describe the continuing quest for human companionship as it functions today. Funny, pathetic or egotistical, these quotes sample intimate personal desires shared online with a vast audience. Whether we look at these figures as ourselves or as represetations of our culture or our history, the emotional insight and symbolic strength that Danielle Krcmar creates with gesture, expression and context is as insightful as it is irresistible.

- James Hull, Curator

 

Danielle Krcmar, Xs for Sargent (2009) pigmented concrete, glass eyes and artificial hair

 


Past Exhibits

On the Road
an exhibit of artwork inspired by the road.
PDF of Press Release

Hannah Cole
Chris Faust
Gretjen Helene
Doug Weathersby

Curated by James Hull


June 24 - August 27, 2010
Suffolk University Art Gallery at NESAD
Opening reception: Thursday, June 24th from 5 - 7 PM
75 Arlington Street, second floor

On The Road
This exhibits provides evidence that even with Wi Fi, tweets and GPS, time spent “On the Road” can still provide a welcome, artistically inspiring escape. Humbly borrowing the title of the Jack Keruoac novel that made hitchhiking into a right of passage for a generation and indelibly etched the highway into the mythology of the American West, the adventures of each artist connect with our collective wanderlust and take us along for the ride.

Combining notes, to do lists and narratives with images taken on the road, most of these artists achieve what is often an elusive balance between words and images. The humble observations and diaristic notes focus on the thoughts and experiences in the artists minds - pushing the specific imagery displayed in the photos into a supporting role. Rather than captions simply explaining the imagery the carefully phrased text or voice recordings give us a glimpse of the artists’ stream of consciousness, in effect slowing us down to share personal observations grounded in the experiences that take place in conjunction with these environments. Photographs become the backdrop and describe the context for a textual narrative to fill in what it felt like to be there. Descriptions of smells, extremes in temperature, distance and physical exhaustion connect with the audience through a combination of empathy and memory.

Hannah Cole
In addition to the paintings that are often based on photographs, Hannah Cole also works directly on photographs - using pinpricks to transfer enlarged handwritten text onto the surface of photographs taken in transit. Cole describes the “daydream quality of the photos, and the often distracted feeling of driving...” which inspired her to pair these images with notes from her “to-do” lists to “reflect the way that one’s thoughts can interrupt and distort the experience of a place.” A few works feature passages from poems and the photos locations range from Boston to a recent residency in Wyoming to Italy and even Southeast Asia. Artist's web site: http://hannahcole.net/instant-sublime


Christopher Faust
Christopher Faust is the one artist in the exhibit that forgoes text and uses sheer scale to recreate an experience of the open road. Faust turns a 10 by 18 foot wall of the gallery into a painted stretch of disappearing blacktop running away toward a distant row of mountains. He immerses us in an enormous panorama based on a photograph he took riding a bike across the country with his brother. Like the highly personal works by all the artists in this exhibition, the space Faust describes manages to create a surprisingly evocative range of emotions: the unease of vulnerability, the sheer humbling beauty, even the humor or delight of the experience.Artist's web site: http://www.christopherfaust.net/paintings.html


>> listen to a sample of Gretjen's audio from the helmets of her "Epic Journey" - Here

Gretjen Helene
10,000 miles, two motorcycles and only $2,000 is how Gretjen summarizes the facts of her cross continent Epic Journey with a friend from Boston to Alaska and on to California. The poetic prose that she narrates in the single channel sound tracks animate the interior of two motorcycle helmets surrounded by Polaroids from the trip. In her massive “Epic Journey” installation, carefully printed narrative paragraphs are exhibited along side the richly colored Holga snapshots taken from her motorcycle. Sounds, smells and experiences with strangers fill in the memories of the road trip with details that quickly tap into our collective memories. Unapologetically romantic and honest, the words create pictures that compete with the images on the wall to tell an amazing story of adventure.Artist's web site: http://www.gretjenhelene.net/


Douglas Weathersby
Doug’s Environmental Services company encapsulates all of his artistic endeavors. He creates photographs, temporary sculptures, log entries, and videos in which he is sole performer of artistic activities that comprise his (anywhere but the) “studio” practice. The “Log” entries exhibited here from repairing a museum in Louisiana and producing a collaborative installation in Medellin, Columbia are a series of color photographic prints employing a combination of lists and personal 
narratives superimposed as text on a contemporaneous photographic image. The text ranges from diary notes to self deprecating confessions and enviously entertaining anecdotes within each work. The specific dates on all of these photographs reveal the documentary lineage of Weathersby’s work. Weathersby is represented by Dodge Contemporary, NYC. Artist's web site: http://www.drwservice.com/

– James Hull, Curator

Resa Blatman
Curated by James Hull

Boston Globe review by Cate McQuaid HERE


December 4 - January 17, 2010
Opening Reception: Saturday, December 12, 4 - 6 pm
Artist Talk: Tuesday, December 8, 2:30 pm

Artist's Web Site HERE

Resa Blatman, Flux (2009) oil acrylic and glitter on cut edge panel

88 x 130 inches


Suffolk University Art Gallery presents a solo exhibition of Resa Blatman’s recent paintings. Blatman navigates the territory between representation and experience by superimposing realism and dynamic, graphic fantasy. The exuberance of the overall pattern is given a surreal believability through the detailed rendering of the fur, feathers, and skin of a host of creatures. The splashy explosions and clinging droplets animate the orgy of corporeally suggestive forms tucked into a stylized habitat spilling across the wall.


Resa has built upon the intricate cutout framework of her heroically scaled “Beauty and the Beasties” and incorporated it throughout the composition in works like “Flux” or “Lemon Spray”. Using the wall as a background and the cut areas as monochrome silhouettes of intricate scrolls, branches and wildlife activates the compositions - even from across the gallery. Tendrils from separate panels reach across negative spaces and flirt with touching an adjacent edge.


Avoiding a specific narrative, Blatman creates an overall feeling and then reinforces it at every opportunity by her selection of decorative shapes, animals, insects, fungi and fruits that exude a disneyesque sexualized beauty. Blatman uses flat graphic design strategies to tease us screening but not hiding the graphic content. The overt references to pendulous anatomy are disguised by an equally valid reading as a luscious, dimensional fruit, avoiding any pornographic directness. Resa Blatman’s technical skill coupled with her decisions on how to depict the juicy, physicality of desire, the dramatic gestures of romance and the thriving abundance of life is the unexpected power of these works. The result is an over-the-top cornucopia combining the emotive dynamism of Baroque decoration, contemporary patterning like that of Philip Taaffe and the curvaceous sexuality of Georgia O’Keefe in a single painting.

- James Hull

 


 

Opening reception for Construction exhibition

Now showing: Construction
a group exhibition of new sculpture made in Boston
Curated by James Hull

Review in Boston Globe 11/11/2009 by Cate McQuaid > Here

 


October 15 - November 21, 2009
Opening Reception: Friday, October 16, 6-8:30 PM
Artist Talk: (NOTE CHANGE!)>>Tuesday, November 10, 2:30 PM

Exhibiting Artists:
Laura Evans
Peter Evonuk
Arthur Henderson
Ellen Rich
Isabel Riley
Jeff Smith


In this exhibition of six Boston area artists the studio process is on display. Because of the
way these sculptures are created we can witness the key choices made by each artist in the
final product. Not all art works this way. The transparency of the construction techniques
underpins the connection between an otherwise visually divergent group. In the same way
that the ad-hoc repairs and homemade contraptions reflect the personality and
inventiveness of a previous resident of a home, the artworks on view reflect the creative
ingenuity of the artists. Choices of how to put things together, what media to use or where
to get materials reveal much about the artistic strategies at play. The raw materials chosen
might just as easily come from a hardware store as an art supply store. What does that tell
us about the artistic intentions? Using materials to test and explore the boundary between
art and craft or the overlap between painting and sculpture closes the gap between
everyday experience and contemporary art. The confident generosity of all these artists
allows us to see more of the creative process in the exhibited artwork enriching our
experience as viewers.


Laura Evans short-circuits any expected outcomes by cutting, gluing and redirecting tubular
material literally turning them into drawings. More like the lines in Brice Marden’s looping
paintings than a Joel Shapiro sculpture these segmented, articulating cylinders are like
improvisational vectors that don’t seem to get anywhere or describe anything specifibcu t
through thoughtful choreography express the elegant successes and fitful frustrations of
making art.


Peter Evonuk uses his sense of humor and technical training to try to locate the dividing
line between art and craft (if there truly is one). He uses stone carving and cutting, one of the
oldest, most revered processes, to raise a basic construction object to the status of high art.
He carves white marble into a perfect cinder block, which he playfully positions
contrapposto to make the classical sculptural references clear. Evonuk labors using
traditional methods in direct contradiction to Marcel Duchamp’s “found object”. The
irreverence of the subject matter paradoxically underscores the time-consuming processes.


Arthur Henderson uses traditional and nontraditional materials to create anything but
classical sculptures. His cast and fabricated objects are often painted to look exactly like a
cigarette butt or a truncated cartoon character in his own updated version of Pop Art.
Henderson carves text and uses humor to poke fun at the artworld’s seriousness. The use
of contemporary materials like pink insulation foam and contact paper in addition to acrylic
paint or plaster gives his work a broad zone of reference to both mimic and critique trends in
contemporary art.


Ellen Rich combines found materials with painted finishes but her compositions are more
minimal and less culturally specific than Henderson’s. This is surprising considering that she
collects most of the parts for her wall sculptures from a dump. The collage process and
formal restraint of these low relief works is modulated by Rich’s use of found and applied
color. The humble aged surfaces relate them more to Modernist artworks or to Alexander
Calder or Louise Nevelson than to artists known for using cast-off materials like Thorton Dial
or Howard Finster.


Isabel Riley selects hardware store materials with a painter’s eye for color and texture. Her
materials are new and her colors vary from out of the can to exacting faux finishes. This
variety is both coherent and playful as it engages the viewer all the way around these
objects. Connections between one form and another reveal the logic and cagey solutions
Riley uses to move us between elements of each sculpture. Riley has a keen sense of
materials using anything from faux fur to plywood to vinyl flooring to create surprisingly
elegant structures. Balance, tension and color work interdependently to create complex
visual relationships.


Jeff Smith takes the term “playful” literally. He often makes sculptures that function as adult
sized ride’em toys or building blocks. Almost everything is on wheels. He may paint
something or sand or round off the edges but he tries to keep the history of the surfaces
intact. The sturdy construction of these works make them feel attractively interactive (in the
analog sense of the term). They movement sets the stage for a “happening” or a
“performance” in the art world terms but Smith reminds us that when we were kids we just
called it play.


Last Week! Up Until Saturday, October 10 - 5PM

Cara Phillips: Singular Beauty

On view: August 17 - October 10, 2009

Cara Phillips, White Consultation Chair, Upper East Side (2006)

Boston Globe review by Cate McQuaid ( 9/2/2009)

Reception: Thursday, September 17, 6 - 8:30 PM

Exhibition Dates: August 17 - October 10, 2009

Artist Talk: Wednesday, September 16 @ 1:30 PM

 

Cara Phillips: Singular Beauty

a Solo exhibition of Photographs by Cara Phillips

In her first solo exhibition, Singular Beauty, Cara Phillips confronts us with an unblinking view of what she calls “the ultimate destination for beauty.” The Brooklyn based artist photographs consultation rooms, “before and after” backdrops and the machines used for cosmetic surgery. Phillips uses color, a central composition and spot lighting to deliver a dramatic cross section of cosmetic surgeon’s offices from some of the nation’s wealthiest neighborhoods without showing the doctors, staff or clients. By listing the location of each office, as in White consultation chair, Upper East Side (2006), or Before and after room, Beverly Hills (2007), Phillips tempts us to imagine who will be in the chair for the next appointment, revealing our judgments that are literally as superficial and as complex as the operations planned. The dramatic isolation of the objects pictured in carefully decorated environments gives us the space to contemplate, empathize with or condemn the tremendously popular surgical procedures they represent.


How does a nice green chair and super-slick interior transform the experience of a doctor's office? By turning these environments into galleries projecting aesthetic good taste and classy professionalism in order to sell elective surgery. As a society, why do we accept placing implants in our bodies or removing parts of us surgically that we deem unattractive as normal? Every image asks those questions.


Cara’s background as a child model for the Ford Agency and later as a make-up counter sales-person allows her to reveal the business end of controversial medical procedures from a unique perspective. Phillips has taken her own "body issues" and redirected them into a well researched, poingnantly indirect look at “body sculpting” surgeries. Self-image issues reveal cultural and societal pressures on our appearance, the current state of Feminism and the implications of re-defined gender roles in the 21st century. The very personal, emotional balancing acts that revolve around how we identify and how we feel about ourselves make this a rich territory for an artist - richer perhaps because she never shifts the focus to a singular beauty.

James Hull, Curator

Press Images (large files for print)

link to artist's web site

Cara Phillips, Before and After Room, Beverly Hills (2007)

Chromogenic print 40 x 30 inches

Cara Phillips, Blue Laser Consultation Chair, New York City (2006)

Chromogenic print 38 x 46 inches

Cara Phillips, Orange Laser Machine, Washington, DC. (2008)

Chromogenic print 30 x 24 inches

 

 


Past Exhibits 2009:

Faculty Drawing Exhibition

June 15 - August 1, 2009

a group exhibition featuring outstanding faculty work in a wide range of media

Opening Reception: Thursday, June 18, 6 - 9 PM

Exhibiting Faculty Artists:

Sophia Ainslie
Ilona Anderson
Paul Andrade
Gabrielle Barzaghi
Mark Brus
Neils Burger
Audrey Goldstein
Nancy Hackett
James Hull
Jeff Hull
Lydia Martin
Susan Nichter
Steve Novick
Matt Templeton
Peter Thibeault
Rex Wynn
Tamotsu Yamamoto

Foundation Student Exhibition
March 23 - April 3, 2009
Opening reception: Thursday, March 26, 5:30-6:30 PM


Graphic Design Undergraduate Exhibition
April 6 - 17, 2009
Opening reception: Thursday, April 16, 5:30-7:30 PM


Fine Arts Senior Thesis Exhibition
April 20 - May 1, 2009
Opening Reception: Friday, April 24, 7-8:30 PM


Interior Design Undergraduate & Master’s Exhibtion
May 7 - 22, 2009
Opening Reception: Thursday, May 7, 5:30-8 PM
(following formal gallery talks by senior students at 6:00pm)


Christopher Dombeck from the "Artworks I have Touched" installation

Teresa Pierce "Seven People #1,

Difference is to Identity as Individualism is to Status"

 


New! Installation Views >>

Installation view (Dana Clancy and Cristi Rinklin)

Behind the Image November 6, 2008 - January 3, 2009

 

Behind the Image November 6, 2008 - January 3, 2009
75 Arlington Street, Boston, MA 02116
Gallery is free and open to the public:
M-F 9am-10pm, Saturday 9am-5pm, Sunday 12pm-6pm


Telephone: 617.573.8785
Gallery Email: gallery@suffolk.edu
Behind the Image Curated by James Hull
Exhibition Dates: November 6, 2008 - January 3, 2009
Opening Reception: Thursday, November 6th: 5:30 - 8 PM
(after 7 PM enter at Main Lobby @ 10 St. James Street)

Exhibiting Artists:
Hannah Barrett
Dana Clancy
Lisa Costanzo
Heather Hobler
John Guthrie
Cristi Rinklin
Joe Wardwell


Behind the Image is an exhibit of seven well-established artists who live
and work in the Boston area. The exhibition reveals some of the
investigations, processes and inspirations these artists used to produce
specific artworks. The highly crafted paintings and drawings created by these
artists are shown side-by-side with the sketchbooks, digital mock-ups,
photographic studies, art history books, and color studies that informed their
decisions during production. In addition to preparatory sketches, the curator
attempts to re-create the “studio wall” of each artist - surfaces covered with
inspirational objects, unexpected images, postcards, photographs, magazine
pages, album covers and news clippings. The creative act itself is on view in
many ways. The finished work is given a history through this
“contextualizing” of the artwork with early stages of thought and jumping o
points in evidence. Students, other artists and the public get an opportunity
to see what is “Behind the Image” in each of these diverse artistic practices.


Contact: James Hull, Curator / Gallery Director: 857.222.0333
Email: james.hull@mac.com