A daring and exciting interplanetary adventure, journeying through the solar system atop a bluish beam of xenon ions, soaring past Mars and flying well over one million times farther from Earth than the International Space Station, orbiting Vesta and Ceres, the two largest bodies in the main asteroid belt (together representing about 40 percent of the combined mass of the millions of objects between Mars and Jupiter), exploring these mysterious uncharted worlds, revealing dramatic alien landscapes, powered by the collective passions of everyone exhilarated by new knowledge and everyone who longs to know the cosmos, Dawn has already surpassed any reasonable expectation for what it might achieve. What more may come, we do not yet know. That's part of the thrill of exploration and discovery. But when the end does come, it will represent the culmination of a truly extraordinary extraterrestrial expedition.
Making God Laugh presents a family over 30 years and 4 Holidays. Old family rituals and new tensions will cause viewers to recognize their own family lives. Betty Mohr of the Chicago Sun Times called the show “A gem of comic relief…this new heartwarming comedy has everything going for it.”
Gallery Hours Tuesday, Wednesday, Friday* & Saturday: 10 am — 5 pm Thursday: 10 am — 8 pm Sunday: 11 am — 4 pm Closed Mondays
“Currier’s sculpture is both a study in balance and an invitation to discovery,” said Nancy Weekly, exhibition curator. As she has stated, her Anamorphosis series reflects, “the interplay of masses and voids. Absence and presence, light and shadow, stasis and motion are subject matter. The dimensional tension and dynamics of human figures found in Greek and Buddhist temple pediments, and most recently, the structural flatness and synthesis of planar shapes in Cubist still-life paintings intrigue me.”
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The exhibition is fittingly presented in the Sylvia L. Rosen Gallery for Fine Art in Craft Media, named for the Burchfield Penney’s patron whose generous support makes the biennial exhibition possible, as well as collection development. Past recipients of the Langley H. Kenzie Award include Bethany Krull (2010), Karen Donnellan (2012), Jesse Walp (2014), and Jozef Bajus (2016), who respectively work with ceramics, glass, wood, and fiber with recycled materials.
Professor emerita of Ceramic Art at Alfred University, the number one ranked ceramic art Master’s program in the country by U.S. News and World Report, Currier was recently named first-place recipient of a 2017 Virginia A. Groot Foundation Grant. Her sculptures are represented in numerous private and public collections, which include the Metropolitan Museum of Art, New York City; Renwick Gallery of the National Museum of American Art, Smithsonian Institution; Daum Museum of Contemporary Art in Sedalia, Missouri; Musée des Arts Decoratifs de Montréal; Los Angeles County Museum of Art; Museum of Contemporary Art, Kyung-ju, South Korea; and Hermitage Museum, St. Petersburg, Russia.
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Drawing some inspiration from nature’s palette observed from her Allegany County home and studio, Currier creates surfaces reminiscent of mottled boulders, slate and rust, as well as intangible fog.
An almost full moon hangs over the increasingly-gentrified shuk here on the west side of Jerusalem, ranked by TripAdvisor.com at number eleven of no fewer than 312 must-do’s in the City-Holy-To-Three-Faiths. Enthusiastic testimonials by the hundreds. Russell, well-known in the shuk, respected and admired and well-liked, has as usual come in at 2 a.m. and keeps scooping, weighing, trimming, letting rest, shaping. He’s wearing an unembellished t-shirt without the emblematic owl print worn by most of the Russell’s Bakery crew.
Edward Grossman’s journalism and fiction have been published in English, Hebrew, Arabic, French, Swedish, Chinese, Japanese, and Russian.
Currier’s latest tiles, designed in eight variations, will be displayed in public for the first time on two free-standing walls in the Burchfield Penney exhibition. She utilized both wheel-thrown and hand-built techniques to create undulating waves, articulated in both positive and negative profiles, and coated with uniquely formulated glazes that accentuate the rise and fall in the tiles’ surfaces. One is a semi-opaque iridescent satin white; the other is an opaque charcoal satin that breaks with a bronze sheen.
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