Wednesday, February 29, 2012

Sandy Wadlington - New Works

McGowan Fine Art announces the opening “Sandy Wadlington – New Works”. The show will run from March 27 - April 27, 2012. A reception will take place March 30, 5-7 PM. The public is welcome.
Born and raised in New England, the region’s unique rural characteristics continue to serve as inspiration to Sandy Wadlington. “The things that interest me are color, light, composition, and a sense of place.” Working with a variety of media, pastel, caran d’ache, and colored pencil drawings will be on display. “Each has specific strengths, challenges and ways of expression”, says Wadlington.

Wadlington captures the tactility of the New England atmosphere by building up strokes and layers, which lends to a seemingly textured, yet soft, surface. “Morning, Near Cushing, Maine” portrays the Maine coast at sunrise, quiet and intimate. The cool, misty air is juxtaposed by the warmth of the emerging sunlight. The freshly fallen snow of “Portsmouth Study”, or the hazy fog of “Fog, Vinal Haven” demonstrates that Wadlington is a master at depicting these fleeting transitional moments in nature.

Trained at the Museum School in Boston and Massachusetts College of Art, Wadlington perfected her skills while living in Texas and showing in galleries from Oregon to Japan. She returned to New England, drawn back to the natural beauty of the region. “Although I have lived in other parts of the country, I find the New England landscape especially rich and compelling”. Many of her works are based on photographs, taken by Wadlington on location.


Friday, February 17, 2012

Corporate Project - Wiggins Airways

McGowan Fine Art recently completed an installation of artwork for Wiggins Airways, located at 1 Garside Way in Manchester, NH. Wiggins has been at the forefront of aviation growth in the Northeast since 1929, and provides scheduled and charter cargo flight operations, passenger charter operations, and FBO operations.

This project, completed in February, was coordinated and installed by Amanda Lacasse - Corporate Art Consultant for McGowan Fine Art. Lacasse updated the existing collection, a selection of prints installed over 10 years ago by McGowan, by adding fresh prints to their existing frames. To reflect New England’s scenery to those flying into the terminal, Lacasse selected a range of images from quiet landscapes to bustling costal towns.

McGowan Fine Art has over 30 years of corporate consulting experience, and has worked with corporations and businesses of all sizes throughout New England. Corporate art selections have ranged from original art, to high quality reproductions, or historical photographs.

Please call Amanda Lacasse at 603-225-2515 for more information about corporate consulting.

Corporate Project - Horizon Beverage Company


McGowan Fine Art recently completed an installation of artwork for Horizon Beverage Company, located at 44 Chenell Drive in Concord, NH. Horizon is the largest distributor of spirits, wine and beer in New England.

This multiphase project was managed by Amanda McGowan Lacasse - Corporate Art Consultant with McGowan. Highlighting Horizon’s commitment to the region, Lacasse selected a range of familiar New England scenes, from landscapes to iconic historic sites in NH, ME and VT.

McGowan Fine Art has over 30 years of corporate consulting experience, working with businesses throughout the New England region. Lacasse specializes in complementing and enhancing professional spaces through thoughtful placement of artwork and historic materials.

Please contact Amanda McGowan Lacasse for more information on corporate consulting:

Wednesday, February 15, 2012

Native American Art at Dartmouth

Native American Art at Dartmouth


Highlights from the Hood Museum of Art 

October 8, 2011, through March 11, 2012

I have just returned from the “Native American Art at Dartmouth” exhibit at The Hood Gallery at Dartmouth College. A friend, who loves Native American history, went to see this exhibit this past fall and came back raving about it. I have no such inclination so it took an errand to Hanover to entice me into the Hood to see this show. It is a fascinating exhibit that contains traditional craft and contemporary paintings from their permanent collection. This show will end on March 11 so there is still time to see it.

I am aware that much of recent Native American History is full of the treachery of the US government and the struggle to adapt. I can’t help but reflect that much of the handiwork is the story of their adaptation to the new techniques they learned from Europeans and the introduction to new materials such as beads, paper, metals and yarn. They took these items and transformed them into items to transmit their culture.

Looking at the early bead work made me consider the time, effort and patience that went into creating the elaborate surfaces. While the beads are manufactured in Europe they are still uneven in size and form. Covering a surface evenly takes time and constant readjustment to get them to all lay flat. Of course, this is a period where there were no electronic or social distractions. Seeing the transformation of the craft over time was also enlightening. Early bead work was much more geometric and bold following the patterns traditionally used on their pottery. Over time the patterns became more elaborate and floral reflecting  their relationship with nature. I wonder if it wasn't also due to exposure to Victorian patterns on clothing and home goods.

The more contemporary artists such as Fritz Scholder and T.C. Cannon adopted a recognizable modern technique but addressed Native American focused themes.  I will leave you to your own interpretation but they both knew how to put the paint down lusciously. It feels familiar- not too much of a departure from other American painters. I did enjoy an updated ledger drawing that portrayed Custer and an Indian doing proxy battle with a Rock 'Em Sock 'Em Robots game. 

While this show isn't a splashy one it offers a lot to think about.... such as how much of the Native American oeuvre was created for the tourist trade? And how exactly do we transmit our culture via the arts? It is only up for another month so I recommend making the trip to the Upper Valley.

Wednesday, February 1, 2012

A Fine Line: Frederick Lynch and Elizabeth Mayor

McGowan Fine Art announces the opening “A Fine Line: Frederick Lynch and Elizabeth Mayor”. The show will run from February 21 to March 23, 2012, with a reception February 24, 5 – 7 PM. There is a snow date of March 2. The public is welcome.

Seemingly disparate visions- the rawness of Mayor’s work and the careful, precise style of Lynch- are brought together in “A Fine Line.” These two artists approach surface manipulation with a variety of techniques.

Mayor’s recent woodblock prints are unique pieces – combing variations, of pigment, chine colle, thread and manipulation. Some pieces are old prints that she has cut up and stitched back together with thread. “As a printmaker, you do multiples. I have so much work! I just started cutting up the old”, says Mayor. The result is intriguing – out of chaos and disorder, something truly unique and exciting is created through Mayor’s thoughtful piecing back together.                                              

Unlike her re-stitched prints, Mayor takes a methodical approach to “Playing with Sol”. Inspired by a wall drawing of Sol LeWitt, Mayor repeats a mathematical pattern sequentially. “More Lingo” expresses Mayor’s desire to create shapes that are totally abstract. Her approach – whether disorderly or methodical – elicits a body of work that is playful and exciting.

Elizabeth Mayor has been with McGowan Fine Art since the gallery opened over 30 years ago. She received an MFA from Tufts University/School of the Museum of Fine Arts, Boston. Her work has been displayed extensively in solo and group exhibitions throughout the region, and can be found in the Hood Museum of Art and the Currier Museum of Art’s permanent collections.

Maine artist Frederick Lynch will have three dimensional work on display, working with oil, enamel, glass, and aluminum on MDF- a dense fiberboard. Lynch takes an analytical approach to working abstractly. “This current series, (Divisions) is based on an idea that repeated sectoring of a given area can produce infinite shape variations. The resulting visual effect is a systematic display of controlled chaos and random patterns”, says Lynch.

Lynch incises into the enamel surface creating intricate patterns. Oil paint wiped across these surfaces is caught in the incised lines giving them a quality of a printed image. Lynch’s work has an organic quality to them – the patterns are based on observations from nature, such as branching, or cracking. Some appear biological, reminiscent of cells under a microscope. The Division Series began as paintings. By working three-dimensionally, a real, rather than illusory presentment is suggested. “These pieces seem to stir memories of important monuments to daily life”, says Lynch.

Frederick Lynch has exhibited through the U.S., and his work is found in numerous collections, such as the DeCordova Museum in Lincoln, Massachusetts, the Portland Museum of Art, and the Farnsworth Museum in Rockland, ME.