H2O: Film on Water Redux

CYNTHIA-REEVES Gallery

Reception  November 19th, 6:00-8:00

tuesday-saturday 10:00-6:00

Gallery Information:

535 West 24th, 2nd floor

New York, NY

212.714.0044

cynthia-reeves.com

H2O:Film on Water is no longer on view at:

The Newport Mill, Great River Arts, Spheris gallery and the Brattleboro Museum

Standing in the massive (18,000 square foot) space – part of the recently renovated Newport Mill – the viewer is surrounded and lifted by the light, movement, and sound emanating from dozens of pieces of art. The integration of the mill’s architecture and the art associated with the exhibition is beautiful, powerful, and timely.

The show was organized by Cynthia Reeves, a long-time friend of Orion who has connected the magazine’s staff with a number of visual artists whose work has subsequently appeared in Orion. Cynthia is the creative director of the Great River Arts Institute, and the owner of the Cynthia-Reeves gallery in Manhattan.

For the complete article click here:

http://www.orionmagazine.org/index.php/newsfrom187/

“From the water problem to water as metaphor. Our story begins in a former woolen mill on the banks of the Sugar River in Newport, NH. To get there, I drove past The Dollar Store and strip malls, the spray-painted signs advertising cord wood and coal, and onto South Main Street, where space for rent signs fade in store front windows.

Newport is one of the American towns where Sturm, Ruger and Co. has been manufacturing guns since 1949. Firearms magnate William Ruger, Jr., meticulously restored the old mill to house his extensive collection of antique cars. Bill Ruger then turned over an entire floor – 20,000 square feet – of the mill bulding to H20: Film on Water. It’s a collection of films, video, photographs and contemporary installations linked to the Connecticut River waterways.”

To read or hear more please click here:

http://www.nhpr.org/node/27343

November 19th – December 23rd

H2O: Film on Water Redux

CYNTHIA-REEVES Gallery

Reception  November 19th, 6:00-8:00

tuesday-saturday 10:00-6:00

Gallery Information:

535 West 24th, 2nd floor

New York, NY

212.714.0044

H2O:Film on Water is no longer on view at:

The Newport Mill

Great River Arts

Spheris gallery

Brattleboro Museum

603.640.6155
info@greatriverarts.org

In Vermont, take Interstate 91 to Exit 8 / Ascutney, Claremont.
Right at the end of the ramp.
Follow VT/NH state route 11 East to Claremont (5 minutes drive)
Follow signs staying on Route 11/ East/ toward Newport.
It is approximately 10 minutes to Newport – be sure to observe the speed limit signs.
In Newport center at the traffic light intersecting with Main Street, take a left.
Two blocks up, look for the continuation of Route 11 and take that right, which is Route 11/ Sunapee Street.
Approximately 1000 feet up on the right is the large Mill building.
Go to the lower level parking to the loading docks.
The elevator inside the loading docks will take you to level 3, the exhibition level.

Saturday, October 17th
5:00 – 7:00 pm
open to the public

LOCATION:
The Newport Mill
169 Sunapee Street
Newport, NH

NEWPORT, N.H. – Outside an old brick woolen mill here, a dam in the Sugar River pools the water and releases it in a crashing waterfall. Inside, reflections glint on the walls, and the sounds of water rushing and burbling fill the vast third floor, part of “H2O Film on Water,’’ a themed art exhibition now up at four venues along Connecticut River Valley waterways.

“It’s a yellow brick road of contemporary art,’’ declares creative director and art maven Cynthia Reeves, founder of the educational nonprofit Great River Arts in Bellows Falls, Vt., and owner of Spheris Gallery in Hanover, N.H., two of the project’s other venues. The fourth is the Brattleboro Museum & Art Center in Brattleboro. “We’ll lead people up the river,’’ Reeves says.

“H2O Film on Water’’ features a juried show of 40 water-related videos and a curated exhibition of work by 26 artists, ranging from young emerging artists to such big names as Mike and Doug Starn and rising star Cui Fei. A portion of the proceeds raised by the project will be donated to Water for People, a nonprofit that works to create sustainable drinking water resources in developing countries.

The exhibition was put together on a shoestring: “Virtually all the artists did everything at their own cost,’’ Reeves says, standing beside a spiraling fabric installation by Georgie Friedman in the Newport Mill space. The juried videos run on televisions donated by a hotelier friend who was switching to plasma screens. And the Newport Mill space is rent-free.

It’s quite a spectacular venue. At a generous 18,000 square feet, the mill’s third floor houses most of the artworks in “H2O: Film on Water.’’ At the time last year when Reeves proposed the art project to the building’s owner, William Ruger, the mill had been losing industrial tenants and was in need of an overhaul. Ruger has owned the mill since 1980, leasing it to businesses that made combat boots, miniature light bulbs, and more.

Reeves, who also owns Cynthia-Reeves, a New York gallery, found Ruger through mutual connections and was curious about his space. Ruger was no stranger to art; he has a collection of 19th- and early-20th-century American art.

“She came over a year and a half ago,’’ Ruger says in a phone conversation from a vacation in Maine. “She said, ‘We could open in 2009.’ . . . It seemed like the dim and distant future.’’

Reeves nearly swooned when she saw it that first time. Oh my God, this is fantastic. Oh my God, this is so huge. What will we do with the space? she remembers thinking.

Although the tough economy has seen many empty commercial spaces open to artists just to fill up square feet, Ruger says he had planned a renovation anyway, and Reeves’s project locked in the timetable. “I’d made the decision to change the nature of the tenants before the economic conditions set in,’’ he says.

The two signed a lease and a memorandum of understanding, and each went to work: Ruger on his renovations and Reeves on organizing the show.

“The artwork started arriving, and the elevator had just been finished,’’ Ruger reports.

The result is dramatic. The lights are dimmed, but brighten around certain works of art. The industrial feel of the space remains, with its brick walls and exposed pipes, but the wood floor gleams, and the 32 vast windows have been covered with black fabric to make it easier to see the videos. Daniel Wheeler’s brilliant, shimmering color photographs, “GULP (Generative Urban Landscape Project),’’ shot underwater in pools, hang suspended from the ceiling down the center aisle, leading the eye to the one uncovered window in sight, and a view of the Sugar River dam and waterfall.

Curated works in the Newport Mill include the chilling video projection “Seas,’’ by Jenn Moller, of a nearly frozen Cape Cod Bay throwing slushy waves ashore, and Amy Globus’s freakily beautiful video “Electric Sheep,’’ in which two octopi squeeze their way through narrow tubes between two larger plexiglass aquariums.

In addition to videos, there are two-dimensional works such as Stephen DiRado’s funny, fraught, black-and-white photo series “JUMP,’’ featuring swimmers taking the plunge off the American Legion Memorial Bridge on Martha’s Vineyard, and installations such as June Ahrens’s “In Depth,’’ in which a rotating light over a floor covered in mirror shards casts a spectacle of reflections on the wall. The monitors showing the juried videos line two long walls.

Reeves is thrilled with the result, and she has another show in mind to propose to Ruger. “For anyone to say, ‘Here’s the key to this building, have at it,’ it’s incredible,’’ Reeves says.

Ruger, never a fan of contemporary art, says he’s pleased. “I think it worked perfectly,’’ he says. “I’m delightfully surprised to find myself interested in something I wouldn’t think I’d be interested in.’’

And the mill’s future? “Who knows, maybe even people who visit as a result of the art show might be interested, maybe this will be some help in marketing [the space]’’ Ruger says. “It would be delightful if it turned out to be a building for the arts, if it could be made financially feasible.’’

Article

I enjoyed each water video on a different level because they were so diverse in technique, presentation, and subject. The artists brought their own take on the work by using color, black and white, people, animation, and various sources of water.

“Sounds on Water” mesmerized me as I watch the black and white presentation of a body of water moving in different rhythms, coupled with the sound of water in the background. Since I love spending the day in the water and believe I am part mermaid, it was pure Nirvana for me.

In addition to the videos, which were in a competition from across the United States, there are impressive displays from artists with galleries in New York City and beyond. The artwork in “alleverythingthatisyou” was created by Mike and Doug Stam. Made with archival inkjet prints and varnish, it portrays an array of snowflakes each uniquely different. The artists are twins, have two studios, and featured in Fine Art Magazine in April 2009, and The New York Times magazine in March 2009.

Some of the 21 artists represented are…

Photographer, Daniel Wheeler represented in Los Angeles by Duncan Miller Gallery.

Joey Morgan, whose artworks and multi-disciplinary installations were shown in site-specific contexts and gallery exhibitions in the United States, Australia, Denmark, France and across Canada.

June Ahern has galleries in New York City and New Haven CT and has an exhibit made with mirror tiles “In Depth.”

Peter Brooks has a group of paintings on a new collection of Poems by Charles Wright titled ” Sestets,” and his works been shown throughout the US.

Photographer Stephen DiRado has been exhibiting his photographs since 1983. DiRado is the Photography Senior Lecturer in the Studio Arts Program in the Visual and Performing Arts Department at Clark University. His black and white exhibit ” Jump” is an interesting study of people on Martha’s Vineyard jumping from the American Legion Memorial Bridge into the ocean 18 feet below.

This week, winners of the video competition winners will be announced, prizes are First Place $5,000, Second place, $2,500 and third place, $1,000. Denise Markonish, Curator at Massachusetts MoCA, judged the videos. However, I have a heads up on first place, and the winner is Deborah Wing-Sproul of Cape Elisabeth ME for “Tidal Culture: Part II (Newfoundland)”

This event is sponsored by Great River Arts a New England-based arts center to support and nurture visual and literary artists and provide regional youth programs. They are a non-profit organization dedicated to bringing faculty from the literary and visual arts disciplines to teach in the Connecticut River Valley and other select locations. Great River Arts also provides opportunities for regional schools to supplement their visual arts and creative writing programs with in-school offerings, as well as with after-school opportunities for young people in New Hampshire and Vermont.

Cynthia Reeves, founder and Creative Director of Great River Arts, is the acting Creative Director for “H2O: Film on Water.” Reeves owns Spheris Gallery in Hanover, New Hampshire – the partner gallery to Cynthia-Reeves in New York City.

Hours for the exhibit are 11-5 Thursday through Sunday, and it runs until November 7. Although Admission is free, there is a $5.00 suggested donation. This is a multi site exhibit with venues also at Brattleboro Museum, VT., Spheris Gallery, Hanover NH, and Great River Arts, Bellows Fall VT.

Newport is fortunate to have a wonderful exhibit and organization for its community. Thank you to Great River Arts and Bill Ruger for this opportunity.

http://www.sunacom.com/columnists/croydon/h2o.html

Article

“Man is not an aquatic animal, but from the time we stand in youthful wonder beside a spring brook till we sit in old age and watch the endless roll of the sea, we feel a strong kinship with the waters of this world.”

I stumbled upon this quote once in a book by nature writer and columnist Hal Borland, entitled “Sundial of the Seasons: A Selection of Outdoor Editorials from the New York Times.” There is something so succinct about the sentence that does not attempt to answer or reveal why water holds such mystical sway over us, while communicating without doubt that it does. That is something like the nature of water itself.

This simple elemental force, this random fastening of hydrogen and oxygen, runs through our cells, our kitchens, our streets, our cities, separates our continents. Allows the planet habitation. Gives life, and takes away. And even with science at our backs, there is no reason nor rhyme. We need it, it fuels us and romances us, we play with it and say we love it …

Yet it doesn’t answer back. Its basic truth just keeps flowing, silent and eternal.

Unfortunately its held tongue, like anything, is not safe around artists.

One of the reasons for art’s existence is that the human mind and spirit has an innate need for questing, filtering the findings through our own experience and then retelling. This is true for everyone, not just artists in the traditional sense; storytellers and vivid dreamers merely occupy different rooms in the house where painters rent. Artists may simply feel the impulse to shout their “reality findings” louder.

With water’s relation to our lives so basic, yet unknowable and bizarre, it proved a field day for the upwards of 100 artists chosen to exhibit water-themed work in 2D, 3D and video installation for the sprawling and unprecedented H20: Film on Water traveling exhibition, debuting in Bellows Falls this Friday from 5 to 7 p.m. at Great River Arts Institute with a wine reception.

William Ruger — owner of Newport Mill gallery, a newly renovated landmark along the Sugar River in Newport, N.H. — approached Cynthia Reeves about the creation of an inaugural exhibit for his 18,000-square-foot space. Reeves is a veritable Connecticut River Valley art star: She founded Great River Arts in Bellows Falls and is its creative director, founded Spheris Gallery in 1995 in Hanover, N.H., and founded Cynthia-Reeves in New York’s Chelsea neighborhood in 2001. The Cynthia-Reeves Web site proclaims a proclivity toward “strong conceptual foundation and innovative use of materials, specifically mixed media, three-dimensional works and site-specific installation.” Her recent curatorial fascinations more than affirm this, with H20: Film on Water following in the vein of the current Art & Science series at her namesake gallery.

Reeves prefers shows with an overarching conceptual unification, that toy with the intellect as much as, or perhaps more than, the visual sense. The Art & Science series — highlighting five artists over the course of three spring and summer shows, with the last installment under way — aims to broaden and elucidate discourses around scientific endeavor. Work includes Sheila Gallagher’s drawings created through recording her own eye movement at Boston College’s Eye Tracking Lab and Claire Watkins’ kinetic sculptures mimicking the human nervous system with tree branches and LED lights.

With Newport Mill situated on the Sugar River and its history being so inexplicably bound with that Connecticut River tributary, in addition to the desire to capitalize on an opportunity for unifying the southern Connecticut River watershed with site-specific art, Reeves chose a fitting water-based theme tying science to our daily lives and decided that it should be a traveling show—that it should flow on down the river, so to speak.
The show officially opened at the flagship Newport Mill location with 50 juried videos and numerous curated photographic series, site-based installations and paintings on Aug. 8. The evening before, Brattleboro Museum and Art Center participated through Shuli Sadé’s “Waterfall,” a 15-video installation, as part of their season’s opening exhibits. Spheris Gallery in Hanover, N.H., supplied the sneak peak on Aug. 6 with six juried videos. There will be 10 videos at the Bellows Falls installation.

A piece by New York artist Amy Globus entitled “Electric Sheep” sharply documents an octopus struggling to make its way through glass tubing, evoking a dystopically futuristic mood inspired by Syd Mead’s set designs for the 1982 film “Blade Runner.” The title comes from the Phillip K. Dick novel that inspired the film, “Do Androids Dream of Electric Sheep?”

Artist Jeffrey Blondes lives between Paris and the Loire Valley, and creates work exploring the intersection of landscape and time. In his “Summer Solstice: 24-Hour Film,” a tract of land 124 miles north of the Artic Circle on Tornetrask, a large lake on the Swedish-Norwegian border, captures an entire day cycle in real time; thus it transports each spectator visually and temporally to a moment they are now implicated in because of its truth, though distanced from due to geography and its passing.

Other area arts events of note abound this week — though are comparatively landlocked. This weekend is Bellows Falls’ monthly Third Friday Art Walk, and the Italian café/performance venue Boccelli’s On the Canal will feature the Red Fox Session Band’s Irish fiddle jam on Friday from 6 to 8 p.m. and New Orleans’ popular blues vocalist Samirah Evans on Saturday at 7:30 p.m. On Monday, Aug. 24, at Bellows Falls’ Rockingham Public Library, Vermont Independent Media hosts the 5 p.m. workshop “Practical Writing” with Jeff Potter, editor of respected Windham County newspaper The Commons. Come for the water, stay for the tide.

Clara Rose Thornton is a freelance cultural critic and arts journalist originally hailing from Chicago who now lives in an artists’ colony in Bellows Falls. She can be reached at clara@inkblotcomplex.com, or through her Web site, clararosethornton.com.

www.rutlandherald.com/article/20090820/FEATURES17/908200302/1045/FEATURES17

NEWPORT, New Hampshire— A new art gallery housed in a refurbished mill in southern New Hampshire is currently hosting its inaugural exhibition, “H2O: Film on Water,” a show whose theme will concentrate on the ever-relevant topic of, what else, the world’s water.

The Newport Mill was reinvented to serve its new purpose by ownerWilliam B. Ruger, who previously rented the space out to light manufacturing concerns. Much like the nearby Massachusetts Museum of Contemporary Art, the space pays homage to the area’s industrial and economic history, as does its first exhibition, as water was a critical aspect of old mill towns.

Curated by Cynthia Reeves, who owns an eponymous gallery in Manhattan and serves as director of the Great Rivers Art Institute in Vermont, the video-focused exhibition will include paintings, photographs, and more.

http://www.artinfo.com/news/story/32270/new-hampshire-mill-reopens-as-art-space/

For over a century, the Newport Mill has stood along the Sugar River, a tributary of the Connecticut River that helped power New Hampshire’s manufacturing industry. For the next few months, water will spur a different kind of industry inside the sturdy brick building.

The mill is the headquarters for “H2O: Film on Water,” a show featuring dozens of works of contemporary art that explore the human relationship with water. The exhibition is spread among three other sites – at galleries in Hanover, Bellows Falls, Vt., and Brattleboro, Vt. – all of which hug the Connecticut River and further encourage viewers to consider the show’s theme and their own connection to water.

The exhibition was organized by Cynthia Reeves, creative director of Great River Arts, a nonprofit organization that seeks to promote the arts in the Connecticut River Valley. She said the mill’s river setting extends the show’s theme beyond the gallery walls.

“One of our hopes is to connect people to the landscape,” Reeves said. “We really want to put a spotlight on the riverway.”

The mill’s owner, William Ruger, offered the building to Reeves last year when he learned that she was thinking of putting together an ambitious project to mark the 10th anniversary of Great River Arts. It took nearly a year to pull the exhibition together, soliciting works from dozens of artists and figuring out how to fit them in the mill’s open floor plan. The result is some 20 videos and several other works of art – paintings, photographs, sculpture and installations – across 18,000 square feet of unbroken space.

Entering the mill gallery, you’re greeted by the projected image of an icy ocean, rippling and curling in a series of slow waves. The sound of other videos

echoes through the hall. Arranging the mill floor to accommodate all of the works was one of the toughest tasks in pulling the show together, Reeves said.

“This space is a huge challenge,” Reeves said. “It’s like putting on a museum show.”

The works at Newport approach the topic of water from several perspectives: ecological, political, personal. Some deal directly with thorny issues such as global warming and public water use. Others take a more playful approach, such as one video that features footage of children frolicking in a New York City pool.

Clare Langan’s “Flooded Rooms” calls to mind images from New Orleans after Hurricane Katrina. Anne Lindberg’s “Vapor,” an assembly of thin blue and green threads hanging from the ceiling, resembles a waterfall or a fine mist.

“Electric Sheep,” by Amy Globus, features long sequences of a squid maneuvering through glass tubes. Over time, the animal’s movements take on the alluring look of a dancer.

“Jump,” by Stephen DiRado, is a series of photographed portraits of people at the exact moment they leap from a bridge into the waters off Martha’s Vineyard.

For “The State of Things,” Ligorano Reese cast blocks of ice spelling out the word “DEMOCRACY,” left them in the summer sun on a street in Denver and taped the results as the letters slowly melted over the next 24 hours.

Reeves said she made video art the focus of the show, in part, because she felt it was a medium to which children could relate. She hopes school groups will visit, and the gallery will host kid-friendly programs starting in September.

The show’s division among four sites is a key piece of the overall exhibition, Reeves said. She hopes visitors will drive from gallery to gallery, “like a treasure hunt,” she said. In doing so, they’ll follow the path of the Connecticut River and perhaps contemplate the themes explored inside the gallery.

http://cmedit61.sx.atl.publicus.com/apps/pbcs.dll/article?AID=/20090810/FRONTPAGE/908100303

Cynthia Reeves, the director of the Great Rivers Art Institute in Bellows Falls, Vt. (she also owns the Cynthia Reeves gallery in Manhattan), curated works by artists like Doug and Mike Starn, Daniel Wheeler and Anne Lindberg, while Denise Markonish (a Mass MOCA curator) will be awardingthe three juried prizes in a video competition. The work spreads out to three other nearby venues: the Great River Arts Institute, the Brattleboro Museum in Vermont and the Spheris Gallery in Hanover, N.H., through Nov. 7. And if you tire of all the highfalutin art, book an appointment to see Mr. Ruger’s formidable car collection, which includes various Rolls-Royces, a Duesenberg and two 1920s firetrucks.

http://themoment.blogs.nytimes.com/2009/08/07/now-showing-h2o-film-on-water/

At first glance, artist Avy Claire’s installation, “Big Water,” which opens at the Spheris Gallery in Hanover on Thursday, displays what appears to be 16 paneled photographs of the surface of water. Upon closer examination, however, the viewer realizes that tiny words have been incorporated into the photographs, creating a collage-like image.

For Claire, the piece symbolizes the immense amount of words and thoughts that go into simple things like water, she said. The element in all its forms — complicated, destructive and beautiful — provides a unifying element for “H2O: Film on Water,” an exhibition hosted by four galleries across the New Hampshire-Vermont area. The Newport Mill in Newport Mill, N.H. serves as the flagship gallery for the exhibition.

The exhibition is sponsored by the Greater Valley Arts Center partnered with Water for People, a non-profit organization that works to provide clean water in developing countries by creating local water sanitation facilities. As a result, much of the artwork in the exhibition focuses on the effects of climate change, particularly for those who have trouble accessing clean water.

“Big Water,” for example, incorporates more than 600,000 words about the global water crisis, taken from writings by scientists, journalists, individuals, lawyers, researchers, and policymakers.

“What’s become fascinating to me … is the enormity of the amount of words and the amount of time, energy and resources that people put into this issue,” Claire said. “Sometimes I feel like it shows this sense that we really need to make a change.”

Claire’s piece successfully incorporates meaning that is relevant to a contemporary crisis while still maintaining a beautiful artistic quality that justifies its position as a piece of art amongst the others on display. Like a Monet, the long-distance view of the instillation depicts the play of light on the surface of a shallow blue pool, whereas a close look at the piece reveals thousands of minutely detailed words.

“When you get up close you encounter the abstraction of the pixels and you get this other element, which is text,” Claire said. “That was a very important part of this piece from the start, because the text initiated the piece.”

While many works’ subject matters and the colors lend themselves to a tranquil exhibit, the deep thematic aspects of the exhibition are not lost.

“The juxtaposition of the heaviness of the topic with the beauty and the lightness of the works is really fascinating,” Claire said.

Daniel Wheeler’s photographs, showing at The Newport Mill, also focus on the play of water, but places an emphasis on the visual effects created by its disruption. Unlike the smooth surfaces in Claire’s panels, Wheeler’s black and white pieces depict water ripples created by his own breath underneath the surface. Through the ripples, the viewer can glimpse the landscape of a garden.

“I’m taking these pictures from the inside of a swimming pool, so there’s a kind of performance to it,” Wheeler said. “Each time I take an image there’s a descent into the water…I’m shooting through the water that’s been disturbed through by descent, and I’m also shooting through the breath that I’m letting out.”

Wheeler said that his earlier sculpture work inspired the photographs, noting in particular the idea shooting from residential pools in an otherwise desert-like Los Angeles, Calif.

“It’s a very strange landscape that exists in these backyards — it’s like a little fake garden,” he said. “Sometimes I’m not actually using permission, so you may see a guy in a wetsuit running across your yard, holding a camera, and jumping into your pool — that could be me.”

“H20: Film on Water” opens August 6th. The Newport Mill and Spheris, along with The Brattleboro Museum in Brattleboro, Vt., and Great River Arts in Bellows Falls, Vt., will show works from almost one hundred artists until November 7th. All four of the galleries are currently open to the public.

http://thedartmouth.com/2009/08/04/arts/water/

Brooklyn, NY

“The Man Who Waits and Sleeps While I Dream”

www.dreamlab.org

I became interested in exploring dreams as the primary material of all narrative structures — the first awkward stories we tell our own selves before our conscious selves can censor them.  Drawing on observation techniques from a 19th century sleep disorders clinic the work poses a charged but unexpressed intimacy between a professional observer and her sleeping charge.

A large video projection of an impossibly deep drain is surrounded by images, text, and sound. These elements tumble together in random sequences of narrative structure, and become source material for a kind of “conversation.” A voice-over soundtrack that can be heard through headphones accompanies the video excerpt.

Physically, the images are projected in different scales on all sides of the room. Psychologically, the projections are contained within the voice over as the observer projects her own thoughts and neuroses onto the sleeping subject. These projections can also be seen as metaphors for the exchange between artist and viewer; between separation and longing; between lovers; between the conscious and sub-conscious within ourselves. The viewer walks between the elements of the work, putting together a particular understanding based on the randomness of his own physical placement in the room. –– One has to be somewhere to be at all involved and so we bring to any story our own personal and cultural assumptions, interpreting not only the language of the narrative, but images and sensations as well. -Joey Morgan

A renovated mill in Newport, N.H. — a tiny town (population 6,200) along the banks of the Sugar River in the southwestern part of the state — is not a place where you would necessarily expect to see cutting-edge art. But from next Friday through Nov. 7, it will be the site of “H2O Film on Water,” a show of videos, paintings, photographs and site-based installations by about 100 artists.

Through the eyes of some well-known figures like Doug Starn and his twin, Mike, and Shuli Sade, as well as emerging artists like Amy Globus, Ethan Murrow and Anne Lindberg, the exhibition will explore water and the effects of changes in the global climate.

Organized by Cynthia Reeves, owner of the Cynthia-Reeves gallery in Manhattan and creative director of the Great River Arts Institute, a nonprofit arts center in Bellows Falls, Vt., the show will spill over to other spaces along the Connecticut River (whose tributaries include the Sugar River): Great River Arts; the Brattleboro Museum in Vermont; and Spheris Gallery in Hanover, N.H.

“I wanted to draw attention to the Connecticut River,” Ms. Reeves said, “to draw people up the valley.”

The area includes 18,000 square feet in the Newport Mill, a 1906 turreted red-brick building that will be making its debut as an exhibition space.

In 1980 when its owner, William B. Ruger Jr., bought the mill, he rented it to very different businesses. Over the years a light bulb maker set up an operation there; so did a shoe manufacturer and a warehouse distributor. But two years ago when Mr. Ruger saw such industries on the decline, he renovated the building in hopes of giving it a new life.

“I would love it to be a permanent art space with galleries, art storage, exhibitions,” Mr. Ruger, who retired in 2006 as chairman of the firearms company his father founded, said in a telephone interview. “Sure it’s out of the way, but it would be breaking new ground.”

http://www.nytimes.com/2009/07/31/arts/design/31vogel.html?pagewanted=2&_r=1&ref=design

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For additional information regarding lodging, restaurants and local attractions please visit: www.hanoverchamber.org

Newport Motel
www.newportmotelnh.com
467 Sunapee Street
Newport, NH 03773
603.863.1440
info@newportmotelnh.com

The Inn at Pleasant Lake
www.innatpleasantlake.com
New London, New Hampshire
800.626.4907

The Goddard Mansion B&B
www.goddardmansion.com
25 Hillstead Road Claremont NH
603.543.0603

Twin Doors B&B
www.twindoors.com
49 High Street, Sunapee, NH
603.763.2236

The Village House at Sutton Mills
www.villagehousebnb.com
14 Grist Mill St, Sutton Mills NH
603.927.4765

The Rosewood Country Inn
www.rosewoodcountryinn.com
67 Pleasant View Road
Bradford, New Hampshire
603.938.5253

For additional information regarding lodging, restaurants and local attractions please visit the following links:

www.lsrchamber.com

www.bbonline.com

H2O: Film on Water is no longer on view at at The Newport Mill

Our special thanks to Mr. William Ruger for his generosity in making the Newport Mill available for this exhibition.

H2O: Film on Water is no longer on view at Great River Arts:

www.greatriverarts.org

Contact:

PO Box 48, 33 Bridge Street

Bellows Falls, VT 05101

802.463.3330

info@greatriverarts.org

Hours: Tuesday – Friday 10:00 – 5:00; Saturday 11:00 – 6:00

H2O: Film on Water is no longer on view at Spheris

www.spherisgallery.com

Contact:

59 South Main Street

Hanover, NH 03755

603.640.6155

info@spherisgallery.com

H2O: Film on Water is no longer on view at the Brattleboro Museum

Hours: Thursday – Monday 11:00 – 5:00

www.brattleboromuseum.org

Contact:

10 Vernon Street

Brattleboro, VT 05301

802.257.0124

info@brattleboromuseum.org

Directions:

From I-91, take Exit 1 in Vermont, then turn north onto Rte. 5 / Canal Street. Follow Canal Street about 1.3 mile until it meets the lower end of Main Street, with Brookside Plaza on the left. The Museum is on the right at this junction of Rt. 119 and Rt. 142, around the corner on Vernon Street (Rt. 142).

In celebration of H2O: FILM ON WATER

Friday, August 21st

5:00 – 7:00 pm

open to the public

LOCATION:

Great River Arts

33 Bridge Street

Bellows Falls, VT

Featuring the artwork of 14 juried videos

Including works for H2O: FILM ON WATER

Friday, August 7th

5:30 – 8:30 pm

open to the public

LOCATION:

Brattleboro Museum & Art Center

10 Vernon Street

Brattleboro, VT

Featuring artwork by Shuli Sade

In celebration of H2O: FILM ON WATER

Thursday, August 6th

6:00 – 8:00 pm

open to the public

LOCATION: 

Spheris Gallery

59 South Main Street

Hanover, NH

Featuring artwork by: Jeffrey Blondes, Masaru Emoto, Shinichi Maruyama and 6 juried videos

“Crude” Series

www.sonjathomsen.com

Obscure is my understanding of oil, its origins; its raw potential; its economic, social and political relationships. What does oil look like? Diverse circumstances came together that made me curious about oil’s invisibility and ubiquitous influence in daily life. These circumstances climaxed in November of 2006 when a loved one returned home after his tour of duty in Iraq. At this time I began collecting my used motor oil and photographing it. By examining oil most immediate in our daily lives, the photographs make visible the slippery substance that has become as needed as water to sustain our contemporary lives.

The photographs entitled Crude (2007-2008) are light jet prints. The dark creamy images abstract scale and are a visual metaphor of the incomprehensible. The title creates a paradox between the refined oil photographed, its origins, its captivating surface and its obscene usage.

Burning Water (2007) is a video completed in collaboration with a colleague and sound artist, Jason Nanna.  The four and a half minute video integrates my study of water, its elusive surface and potential, with my curiosity about oil–a complicated raw material that affects our economy and politics. -Sonja Thomsen

“Vapor”

www.annelindberg.com

Water as space.

Surface to volume.

Mass of chroma.

Suspended from many thousands of points in the ceiling, fine delicate thread lines create a floating volume of color. Subject to gravity, the internal structure of this form is difficult to comprehend and collect at any given moment or vantage point. I am interested in that mystery and intangibility. What results is a fleeting, ethereal collection of particles, dissolution – vapor.  In this work, my curiosity gravitated toward conditions of architecture, optics, visual phenomena, drawing in space and an expression of water as light.  I have challenged myself with questions of scale, color, process, density and proportion in the making of this installation. Optically, Vapor responds to light and sculpturally it answers to air movement.  Tender, liquid, abstract, manic.

I frequently return to the subtle distinction between drawing as noun and verb as a long held focus in my studio practice. This blurred distinction drives my fascination with an expanded definition of drawing languages and the resurgence of drawing in contemporary art. My collective body of work is an iteration of this language – a reassertion of the age-old desire to understand self in place. -Anne Lindberg

“Waterfall”

www.cuifei.net

As a Chinese artist active in the United States, witnessing radical social changes in China and experiencing cultural differences in the United States, I find that my thinking has been permanently altered.  In response to a continually changing outside world, I seek the underlying essence of our lives, something that is real and permanent, which cannot be altered by social, political, cultural, or geographic conditions.  I see nature as consistent and ordered, thus providing a therapeutic agent for healing and harmony in an otherwise chaotic world. I utilize materials found in nature, such as tendrils, leaves and thorns composing a manuscript symbolizing the voiceless messages in nature that are waiting to be discovered and to be heard.

Both the concept of nature in my Chinese heritage, which emphasizes the interconnectedness of all beings, and the Western theory of Transculture, which stresses living beyond the limitations of any particular culture, offer me a unique vision to view the relationships between cultural differences; between culture and nature; and between nature and human beings. -Cui Fei

“BigWater” 

www.avyclaire.com

BigWater is a project I started after reading Maude Barlow’s the Blue Covenant.  It occurred to me that I could further empower the words in this book by incorporating them into an image of water.  Maude Barlow generously allowed me to use her text. This permission began a journey to find out more about water and the project evolved to the scale you see before you.

In the process of working on BigWater I have experienced the enormity of what has been written about water as a precious resource in need of protecting to ensure it’s availability to all.  I have found and read a volume of work written by individuals, scientists, journalists, researchers, policy makers, politicians, lawyers to politicians; the list and amounts of words are vast.

The 16 panels on view hold approximately 600,000 words. The book that inspired this project has about 58,000 words. And, 600,000 words is a tiny fraction of what has been written on the topic.

When I get involved in a project, I find that the process leads me into unexpected places. This project led me to the plethora of policies and laws, written by countries and world organizations — many of which are represented in this piece.  I can’t help but wonder how many more words need to be written in order to affect change. -Avy Claire

_________________________________________________________________________

Sponsorship for the printing and fabrication of this project has been generously provided by Moss, Inc., “The Leader in Tension Fabric Displays”.

“In Depth”

www.juneahrens.com

You can describe a wave as no beginning and no end, birth and death…Looking deeply, we can see that the waves are at the same time water…seeking there own true nature…the nature of nondiscrimination, of no birth, of no death, of no being and of no non-being.

Thich Nhat Hanh   

June Ahrens creates sculpture and site-dependent installations that incorporate everyday materials.  Loss, pain, fragility and danger are major inspirations for her work. She isolates these materials to refocus the viewer’s attention toward exploring and examining their own thoughts and feelings.   

Selected solo and group shows include the Meade Museum, Amherst, MA, Neuberger Museum, Purchase, NY. Edinburgh College of Art, Edinburgh, Scotland, In-Site, Sculpture Guild, Governors Island, NY. Grants include, NEA, CT Commission on the Arts, Polaroid and Duracell Companies among others.

“GULP (Generative Urban Landscape Project)”

www.bigobjects.com

A gulp of water, a gulp of air, a gulp of reality…

In this photographic project, the ubiquitous Southern California pool becomes a medium through which the surrounding landscape is interpreted. The peculiar garden that is urban Southern California would not exist without water. Here it is viewed through that chlorinated lens. Descending into water, my movement, and the exhalation of my breath, causes distortion of the surface. Pictures are made looking upward. The water is clear, but distorts; the landscape can be intuited but the perspective is indeterminate. The resulting cognitive dissonance forces viewers to sense, rather than read, the images. Verisimilitude has never been my goal: instead it is to provide a sensual springboard for interpretation. My work has addressed issues of self, place, and memory through an appeal to the viewer’s body, using sculptural forms and architecture to do so. This new project takes me back to photography, which was my first love as an artist.

Using the sensual immediacy of large-scale photographic imagery I aim to cajole viewers out of their learned response to the environment into a more sensory experience of it, and back into their bodies, so to speak. The images are generated by an action, the descent under water. When viewers stand in front of the finished pictures, they find themselves inserted into the action and by extension into my presence there. The physical nature of the finished objects is therefore intimately connected to their effectiveness. The scale of the images the intensity of the color, the reflective surfaces play crucial roles in the work.

-Daniel Wheeler

“Kusho” Series

www.shinichimaruyama.com

As a young student, I often wrote Chinese characters in sumi ink. I loved the nervous, precarious feeling of sitting before an empty white page, the moment just before my brush touched the paper. I was always excited to see the unique result of each new brushing.

Once your brush touches paper, you must finish the character; you have one chance. It can never be repeated or duplicated. You must commit your full attention and being to each stroke. Liquids, like ink, are elusive by nature. As sumi ink finds its own path through the paper grain, liquid finds its unique path as it moves through air.

Remembering those childhood moments, of ink and empty page, I fashioned a large ‘brush’ and bucket of ink. I get the same feeling, a precarious nervous excitement, as I stand before the empty studio space. Each stroke is unique, ephemeral. I can never copy or recreate them. I know something fantastic is happening, “a decisive moment”, but I can’t fully understand the event until I look at these captured afterimages, these paintings in the sky. -Shinichi Maruyama

“alleverythingthatisyou”

www.starnstudio.com

For the Starns, the six-sided nature of snow crystals appears less important than the ways in which the flakes hover between one state and another. As the Starns photograph, the crystals are in a process of alteration from solid to liquid, from organized form in space to aqueous blob on a surface.  They suggest a transitiveness that photography, as a medium devoted to stilling the moment, would seem to contradict. Instead of appearing as specimens, in the manner of 19^th century scientific observation, the snowflakes are objects of transformation.

Few of the Starns’ snowflakes are models of perfection, and in this they remind one of finding starfish and seashells scoured by the tides and left to dry on sandy beaches. Many have parts missing, or they have all their detailed armatures on one side but not the other. Here again – and despite their appearance on gallery walls in grid-like arrangements – the Starns’ images exceed the aesthetic register of the catalog. Unlike industrial structures, or man-made devices, imperfection is an essential part of their beauty and poignancy.

Here, then, is material evidence of the Starns interest in the phenomenological character of the natural world, cast into being against the certitude of our own impermanence. The photographs speak of the fragile delicacy of our ever-warming world while being themselves a visual bulwark against despair, and they draw us, like moths to light, to the pleasures of sight that but for the camera would exceed the human eye.”

_________________________________________________________________________

Excerpt from Andy Grundberg’s introduction in alleverythingthatisyou (catalogue published by the Wetterling gallery, Stockholm—Sweden 2007)

“Water” Series

www.larrysilver.com

Larry Silver [b.1934] began photographing the streets and subways of New York City in 1949 at the age of 15, and studied photography at the High School of Industrial Art (1949-53). The School’s proximity to Peerless Camera Store enabled Silver to meet numerous members of the Photo League, including W. Eugene Smith, Weegee and Lou Bernstein. In Silver’s senior year, he won first prize in the Scholastic-Ansco Photography Awards, and was granted a full scholarship to the Art Center School in Los Angeles (1954-56). During visits to the Santa Monica Beach, Silver photographed the local weightlifters, body builders, and acrobats. This celebrated series, “Muscle Beach” (1954), was the subject of a solo exhibition at the International Center of Photography in 1985, and again in 1999 at the Los Angeles County Museum of Art.

In 2003, after more than 50 years, Larry Silver began to move away from documentary photography and began creating a series of water abstractions.  These photographs often bear little resemblance to water, incorporating natural and unnatural impurities such as pollution, bacteria, leaves, and brush.  For Silver, these works were the beginning of a conceptual leap – moving away from depicting people in their environment to the effects of people on their environment.

Larry Silver has work in over 20 museum collections including the Metropolitan Museum of Art, Minneapolis Institute of Arts, Brooklyn Museum, Boston Museum of Fine Arts, Houston Museum of Fine Arts, and the Yale University Art Gallery.

“JUMP”

www.stephendirado.com

One of the rites to passage for vacationers on Martha’s Vineyard is jumping from the American Legion Memorial Bridge into the ocean 18 feet below. For many this symbolic ritual is tantamount to announcing: “my vacation has begun.” Stephen DiRado, a Worcester based photographer, has spent the past seven summers photographing the tourists and residents who take this leap of faith. Although DiRado has been visiting Martha’s Vineyard for nearly 20 years, he drove by the bridge for almost 15 years before he stopped to photograph. He was lured by the chanting which surged to a frenzy when a jumper hesitated: “JUMP! JUMP! JUMP!”

The pictures invite us to leap with the jumper, albeit vicariously. DiRado notes, “The first pictures were exploratory, an inventory of sorts about their process: limbering up, adjusting bathing suits, veins pumped with adrenalin, followed by the leap, contact with the water and look of pleasure when they turn upwards to witness the reactions from peers. I came back to do the same the next day, and then the day after, realizing that I was onto something. I was experiencing the thrill of jumping through my camera.” For DiRado, whose fear of heights and water keeps him from jumping himself, this experience is freeing. -Stephen DiRado

“Water Paintings”

www.peterwbrooke.com

I have based this group of paintings on a new collection of Poems by Charles Wright titled Sestets.  Each painting, however, is not directly about any given poem.  They are rather, evocations of elements and fragments of the work as a whole.  Water certainly plays an elemental role in Wright’s work, however it is not the poet’s exclusive theme.  So, like his poems, water is certainly a theme or vehicle in my paintings, but ultimately they are about mortality, nature, reflection, and illusion. -Peter Brooke

www.sonjathomsen.com

Obscure is my understanding of oil, its origins; its raw potential; its economic, social and political relationships. What does oil look like? Diverse circumstances came together that made me curious about oil’s invisibility and ubiquitous influence in daily life. These circumstances climaxed in November of 2006 when a loved one returned home after his tour of duty in Iraq. At this time I began collecting my used motor oil and photographing it. By examining oil most immediate in our daily lives, the photographs make visible the slippery substance that has become as needed as water to sustain our contemporary lives.

Burning Water (2007) is a video completed in collaboration with a colleague and sound artist, Jason Nanna.  The four and a half minute video integrates my study of water, its elusive surface and potential, with my curiosity about oil–a complicated raw material that affects our economy and politics.

-Sonja Thomsen

“Choosing the Best Way”, “Doubting the Right Moment”, “Second Mistake”

www.amparosard.com/amparosard.html

In Amparo Sard’s latest video series water is the most important element, often coupled by an additional leit motif such as a carpet, a landscape, a flashlight, and a wooden raft. Sard uses her props symbolically.  For example, in one work, the carpet represents mistake, marking a difference between two worlds, or two options, the empty space and the filled space. 

Sard uses her familiar motif–the white dress–to represent subliminal language started in the Fly Woman series.  In the Fly Woman series Sard reflects on the doubt and anguish produced by indecision.  Through the work Sard speaks to the implication of mistakes, without revealing what the ultimate consequences may be.

Sard’s practice encompasses mixed media from video art and pin-hole drawings to full scale installation.  Sard’s artwork presents mysterious scenes focusing on a drowning woman and monstrous flies.

“Waterfall”

www.sadestudio.com

In Waterfall, Sadé presents 15 intimately scaled videos of running water.  She filmed the river from her train window, as she rode along New England’s waterways.  In the work Sadé turns the river’s horizontal orientation 90 degrees, shifting river’s axis vertically, and thereby abstracting the natural landscape.  The river’s motion and that of the train blur the images further.  The river cascades down the wall, rather than running along it, taking on the visual properties of a waterfall.  Sadé further stylizes the work through her use of artificial coloration, which visually references her larger body of work.

Regarding her oeuvre, Sade says:  My video stills arrest time and memory. My work aims toward a contemplation of time as a perfect metaphor for its own transcendence, which leaves us with a deepened awareness of our own motion toward mortality.In sets of stills taken from a video recorded on a train and car journey I resolve to remember as if the past were new, as if this journey remained a part of consciousness, as of course it does in our memory.

Through my visual studies I cultivate the thought that we never remain still because we are part of a flux that is omnipresent and affects all things, both the mind and the objects it is composed of.   Such a consciousness permits us to meditate on the cyclic nature of our own existence.  Art transforms what it is able to imagine. -Shuli Sade

“Reverence of Flow (in Motion)”

www.jaanikapeerna.net

Jaanika Peerna works at the crossroads of digital and traditional media, often dealing with the themes of water, simplicity and silence.
“I look for the universal beneath the particular and for the particular above the universal,” Peerna says.  “In my video work I point my camera towards carefully chosen ordinary phenomena such as water moving around a rock or a reflection on a car and record long takes without moving the camera in the hope that something essential about the subject matter reveals itself. I study the footage closely by slowing it way down and at times reversing it. I try looking at it upside down or sideways, all this in order to end up with a video which conveys something essential about the subject matter at hand. I am after the essence of things, the inner movement reflected in the outer motion. Often a small shift in how things are represented can bring a fresh and more immediate way to see and experience the ordinary things around us. I am interested in the never ending process of becoming with no story, no beginning, no end—just the current moment in flux.”

Reverence of Flow in Motion (2009) depicts a moving ball of water and light upon the screen. What is it?  A distant imaginary planet seen from outer space? A rushing stream viewed through a round hole in a log?  A synthetic fractal landscape?  None and all of the above, a work composed by the artist’s gaze in tandem with the transformative possibilities of the machine.  We tend to see only what our technologies offer to us, but sometimes, we peek through, past image and reflection, to some truer world beyond.

www.bigpaperairplane.com

Edwin’s Idea Farm is a cynical nod to the pitfalls of egotism. As the primary actor, I intentionally implicate myself in the verbal conflagration that my protagonist creates around himself. I mean to do this with a nod to Charlie Chaplain, who understood that idiocy is inevitable and our own role in it is assured.

-Ethan Murrow

Ethan Murrow received his B.A. from Carleton College and his M.F.A from The University of North Carolina. Based in New York City, he shows his work internationally. Recent solo exhibitions include, Winston Wachter in New York and Obsolete in Los Angeles. Ethan’s short film, “Dust,” was an official selection of the 2008 New York Film Festival. Ethan’s drawing, painting, video and film work is in many collections worldwide including the Guggenheim Foundation. In addition to joining the painting faculty at the School of the Museum of Fine Arts Boston in the fall of 2009, Ethan will also serve as the Dayton Hudson Distinguished Visiting Artist and Teacher at Carleton College in Minnesota.

“Seas” 

www.jennifermoller.com

The images used in Seas were presented to me on an extremely cold day walking along the Cape Cod bay. The sun was low in the sky raking the late afternoon light across the surface of the ocean. There was no saturated color; the scene was almost monochromatic. Broken chunks of ice formed along the shoreline extending 10 feet out to sea.  The beach was covered with large block shaped ice floats. The bay actually looked like a large white glistening slushy made up of crushed ice.

I noticed the extraordinary beauty of horizontal line, as the waves rhythmically rolled under the bulky ice. I watched as waves repeatedly cast their black linear shadows. I was entranced as I watched the movement’s repetition. I had a camcorder, a tripod, and some digital audio equipment with me. I attempted to capture what I was seeing and feeling that day. The wind was very cold and blowing hard.

Later, in the warm environment of my room I thought more about the wave experience and how it related to meditation. I had been exploring philosophical ideas about consciousness and I saw a connection with the form of the “wave” and the experience of human breathing. I was reading about brain wave states, specifically the theta states reached during meditation.

Presently, I perceive the ocean as a large sleeping form, a sentient being with the wave as its breath. It is in the wave or breath that transcendence seems possible because it may contain within it the mystery of consciousness. -Jenn Moller

www.susanjennings.com

www.slinkmoss.com

Susan Jennings’ abstract video work has long involved itself with the bare essentials of light, movement and color. She has turned to nature, specifically water, very often for her imagery. For this piece Jennings captures moving light on a river as a dance between figure and ground. This imagery is then projected onto whimsically moving sculptures which reflect and refract the video light and send it around the room onto the walls and sculptures as well as the viewers.

For the first time Jennings has collaborated with the artist, Slink Moss who created a sound piece in response to the visual art. His sound for this piece is also inspired by water and light. Drums and percussion represent drops of water or rays of light.  The field sounds Moss has captured of water, birds and trains are also percussive. In this way they relate to the visuals of the installation which deal with light as an object and, conversely, objects as light.

“The Flooded Rooms”

www.clarelangan.com

The Flooded Rooms explores the extreme forces of nature on mankind and it’s environments. This 4-minute film leads the viewer through a series of flooded rooms where it appears that nature has taken over the interiors created by mankind and claimed them as it’s own new landscape. Empty of their former inhabitants, their serenity seems almost normal.

Unlike Langan’s previous film work, which has always been shot in existing environments and landscapes, The Flooded Rooms is shot in created environments. These maquettes were built by the artist while doing a 2-month residency at Moly Sabata, on the Rhone, France from August – September 2005. The Flooded Rooms is inspired by the studio’s proximity to the river, but also mirrors Langan’s sand-filled rooms in her 2001 film Too Dark for Night. Langan’s familiar use of hand-painted glass filters used in front of the camera lens aid in blurring the boundaries between the real and the unreal. The use of exaggerated slow motion in the film has an almost hypnotic quality with the moving water as well as the effect of extending time.

There has always been a crossover between photography, film and painting within Langan’s practice. The use of hand-painted filters and lens attachments employs a very site-specific approach, as well as an obvious reference to painting. Each shot in the film is taken through specifically fabricated hand painted filters, altering the image as it comes into the camera. Its is accompanied by an original score by Jurgen Simpson.

“Electric Sheep”

www.nevadaart.org/exhibitions/

Electric Sheep is a video installation that provides viewers with a unique audio-visual experience as they watch an octopus make its way through glass tubing. Under such close observation the octopus becomes oddly sensuous as it writhes and squeezes through the confined space. The image is both disturbing and beautiful, a sensation that is underscored by the accompanying soundtrack, Wrecking Ball by Emmylou Harris, in which romance and love are coupled with suggestions of fear and destruction.

Amy Globus debuted electric sheep as part of Future Noir a group exhibition organized by Gorney Bravin + Lee, New York, NY. The exhibition was inspired by Syd Mead’s set designs for Blade Runner.  Amy Globus derived the title for electric sheep from Philip K. Dick’s 1968 science fiction book Do Androids Dream of Electric Sheep?, which was adapted into the science fiction cult film Blade Runner.

SELECTED BIOGRAPHY

Amy Globus received a Master of Fine Arts from Columbia University, New York, New York and a Bachelor of Fine Arts from The Rhode Island School of Design, Providence, Rhode Island. She was born in New York City in 1976 where she currently resides. Globus works with video and sculpture.

In 2003, she received the Rema Hort Mann Foundation Fellowship Award. Solo exhibitions of her work include Electronic Sheep at Centro de Arte Reina Sofía in Madrid, Sculpting in Time at D’Amelio Terras in New York, and Electric Sheep at The Nevada Museum of Art Media Gallery in Reno.

“Spiraling Water”

www.georgiefriedman.com/georgie_friedman.html

“Summer Solstice: 24 Hour Film”

www.jeffreyblondes.com

Jeffrey Blondes lives between Paris and the Loire Valley. His work explores the intersection of landscape and time – in particular the French word ‘temps’ with its numerous interpretations:  time, weather, season, beat, rhythm, speed, cycle, pulse. The length of his videos (i.e. 24 or 52 hours) provides a visual record of an experience in an isolated rural place in real time. The local sense of time is transported from the area into the viewing experience. The viewer is transported visually and temporally into a new conceptual space. Blondes’ is highlighting the function of landscape in art as a means of projection and escapism, creating a space between perception and experience. His films are presented vertically on the wall with a picture frame, so that at first glance they look like paintings.

Summer Solstice: 24 Hour Film is one 24 hour capture of the never-ending day from midnight June 21st to Midnight June 22nd in Tornehamn, a spit of land 200 km north of the Arctic Circle on Tornetrask, a large lake leading into Lapland on the Swedish-Norwegian border.

In celebration of H2O: FILM ON WATER

Saturday, August 8th

4:00 – 7:00 pm

wine, hors d’oeuvres and music

open to the public

LOCATION:

The Newport Mill

169 Sunapee Street

Newport, NH

H2O: FILM ON WATER will open with a reception at The Newport Mill on August 8th, 2009. The show utilizes 18,000 square feet of exhibition space in this significant architectural landmark on the banks of the Sugar River. As the flagship location, The Mill will feature 24 juried videos as well as the curated work of several world-renowned visual artists, including:

June Ahrens

Peter Brooke

Avy Claire

Stephen DiRado

Cui Fei

Georgie Friedman

Amy Globus

Basia Irland

Susan Jennings

Clare Langan

Anne Lindberg

Jenn Moller

Joey Morgan

Slink Moss

Ethan Murrow

Jaanika Peerna

Amparo Sard

Larry Silver

Mike and Doug Starn

Sonja Thomsen

Daniel Wheeler

Throughout the run of the exhibtion, regular Sturday on-site events, tours and lectures on art-making, water issues, and the regional environment will be led by artists, curators and specialists. Check back soon for more scheduled events.