EXHIBITS AT THE WOODMAN
The Woodman Museum presents several changing exhibitions within its historic houses which are available for viewing as part of the regular Museum admission fee when the Museum is open to the public from April – November. Works presented as part of changing exhibitions at the Thom Hindle Gallery (formerly the Keefe House Gallery) at the Woodman are available for viewing free of charge. These works are available for purchase with a percentage of proceeds benefiting the Woodman Museum.
Pat Hardy: Home and Away
Thom Hindle Gallery at the Woodman
This exhibition of works by Maine artist Pat Hardy focused on her works created locally and abroad. Pat received her Bachelor of Fine Art degree from Syracuse University, and studied in Maine at the Ogunquit School of Painting and Sculpture with renowned local artist John Laurent. She taught studio classes at Nasson College, Maine, painted murals in private homes and public buildings through the Maine Arts Commission, and has worked for Anthony Moore Painting Conservation restoring oil paintings.Read More...
Scotland, New Mexico to Hawai’i, from Baja to Barrington.
Pat Hardy is an artist whose work has been featured in exhibitions from Maine to California, and whose work has been collected in public and private collections across the country. She is well-known as an artist/businesswoman who has painted murals in private homes and public buildings around New England, and also has worked extensively in public school visiting artist programs.
The Woodman House
The Woodman: 100 Years of Change
Bill Oakes: The Art of Creativity
Keefe House Gallery at the Woodman
The work of New Hampshire author, educator, illustrator, and painter Bill Oakes (1944-2005) was recently presented. Bill is widely-known for his work as the courtroom artist for the Watergate hearings, the major political scandal of the early 1970s. The exhibition featured works that illustrate the extraordinary diversity of Oakes’ art and creative ideas that span his extensive career, including drawings, paintings, published illustrations, prints, and photographs.
An accomplished realist painter, Bill’s ability to capture the essence of his sitter’s character with minimal strokes led to his job as courtroom artist for the Watergate hearings, the major political scandal of the early 1970s. His mesmerizing characterizations of President Richard Nixon, Howard Baker, John Dean, John Ehrlichman and others not only captured the energy of the proceedings, but brought the drama to life for the general public. These illustrations were reproduced in The Washington Post and on ABC News.
A versatile artist, Bill completed numerous illustrations for The Franklin Library, as well as several magazines and newspapers, including Look, National Geographic, Reader’s Digest, Time and Yankee magazines, and The Boston Globe and The Christian Science Monitor. He co-authored several children’s books as well.
Travels abroad and a continued interest in imagination and discovery led to more multi-dimensional works of art and experimentation. His realism evolved to an abstraction born of interest in unusual materials and non-customary methods of application: trowels over brushes, for instance; mark-making with color and texture, more than subject. In short, Creativity over representation. A truly thoughtful artist who believed that art was a vital form of communication, Bill sought to inspire creative thought and discovery in all his students and viewers.
Bill Oakes: The Art of Creativity was sponsored by Federal Savings Bank.
Images above: Bill Oakes, Cynosure, 2000, printer’s ink, 48” x 34”, and Bill Oakes, John Dean, May 1974, ink on acetate, 15” x 14”.
Keefe House Gallery at the Woodman
Honest Injun: A Native Perspective; Recent Work by George Longfish
Centennial Exhibition at the Keefe House Gallery at the Woodman
George Longfish, who migrated to his Rollinsford studio by way of California, works in a variety of mediums, several of which will be on view in this exhibition (painting, prints, photography, digital, and combinations of these). Stylistically, he comes from a modernist abstract background, but his brightly colored, often geometrically-oriented works belie a culturally political agenda. By turns poignant and humorous, he makes us think about cultures colliding – historically and in a more contemporary vein as well.
Mr. Longfish was born in Ontario in 1942, and was educated at the Thomas Indian School in upstate New York. He then earned his Bachelors and Masters degrees at the School of the Art Institute of Chicago. His work has been featured in exhibitions across the country, including the National Museum of the American Indian in New York City; The Heard Museum in Phoenix, Arizona; and galleries and museums from Canada to Mexico. He developed the first Graduate Program of American Indian Arts in the United States at the University of Montana in 1972. He then became a professor in the Native American Studies Department at the University of California, Davis, as well as the Director of the CN Gorman Museum at the same university.
Image: George Longfish, Power Glove and Game Boy Meet Kicking Bear on Their Journey Looking for the Yellow Brick Road, 36″ x 42″
Image: Charles Henry Sawyer (1868-1954), Mount Washington, hand-painted photograph, Thom Hindle Collection
Keefe House Gallery at the Woodman
Measured Progress of Dover generously provided the frames for display of the student work. In association with the National Youth Art Month program, and the exhibition supported the knowledge that skills developed through visual arts experiences, including problem solving, creativity, observation and communication, are vital to the development of all students. The Woodman Museum and its exhibitions and programs seek to draw attention to the value of art education, and to encourage a commitment to the arts by providing opportunities for students of all ages to participate in creative learning.
Having known this artist’s work for over 15 years, Wes LaFountain — director of the Woodman and curator of the exhibition — is pleased to oblige. “I’ve studied Charlie’s career and looked at work from his post-WWII era in New York City to the most recent paintings from Maine, and his lifelong artistic journey is beautifully portrayed in successive episodes on canvas.” Stylistically — through geometric motifs of the ‘60s, from which he learned to paint large; then through 1970s realism akin to Neil Welliver; to the ‘80s and ‘90s loosening up of brushstrokes and more emotional use of color — he set visual problems for himself as an artist, and solved them convincingly. His quest as an artist, in active dialogue with his muse, pushed him to evolve.
Not quite a retrospective, this exhibition surveyed in a couple dozen works the artist’s stylistic evolution, essentially from the 1950s through to the early 2000s. It’s a pretty, enjoyable, painterly ride — not always immediately accessible, but always authentic. Every brushstroke counts.
As one art critic, New Brunswick connoisseur Edward Leger recently stated, “If there could be an American Matisse, it would be Charles DuBack.”
This exhibition was generously sponsored by Measured Progress of Dover. Measured Progress is a not-for-profit organization that provides the K–12 educational community nationwide with innovative and flexible assessment solutions. Locally, they support a number of educational and community organizations. This sponsorship covers several new educational This sponsorship covers several new educational components designed in collaboration with Dover Middle School and the Woodman Museum, in addition to this exhibition.
Image above: Charles DuBack, Riverside, ca. 1990, oil on masonite, 17″ x 22″
George Burk, Low Tide, Night, acrylic on museum board, 12″ x 16″ (framed)
Richard Brown Lethem, Birdwatcher,
12″ x 11″ (framed)
Dyanna Smith, Night Flight, dichroic dragonflies on midnight glass, 1″ square pedant
Illuminations: Three Artists
Keefe House Gallery at the Woodman
Illuminations: Three Artists presented the paintings of George Burk and Richard Brown Lethem, both of Berwick, ME, and works in glass by Dyanna Smith, Portsmouth, NH. All three artists use the natural world as inspiration for their art, representing the common experiences in life that we all share, yet in uncommon ways.Read More...
George and his wife Dadee reside in North Berwick, Maine. He and the other painter in this exhibition, Richard Brown Lethem, have known each other and been painters together for decades; however, they have not shown together since 1999.
Dyanna is a glass artist and silversmith living in Portsmouth, New Hampshire. She works with kiln and torch techniques to create a style that is a mix of retro and romantic, preferring simplicity of design with color carrying the focus. Dyanna shares her time between art and the environment.
“As a scientist, I often find myself distracted by the designs around me: the curve of a spotted salamander, the brown and teal iridescence of a dragonfly. I use that now in my art.”
Dyanna owns Milkweed Cottage Studio, named in honor of her endless childhood quest for milkweed – the exclusive host of the monarch butterfly caterpillar. She is finishing her Ph.D. in Environmental Studies, and recently completed her first documentary film, Piglets and Perspectives, highlighting small sustainable farms in southern New Hampshire. For more information, go to www.milkweedcottage.com.
Born in Missouri, Richard — who these days prefers the moniker Brown — Lethem attended college at the Kansas City Art Institute; then, in a life-changing move, came East to New York City, earning his Masters degree at Columbia University. The year was 1952, and Brown was 19 years old. Abstract Expressionism was big and it was the first style that really captivated him. More than 50 years later (and working for this exhibition much smaller than he often has), he synchronizes abstraction and representational painting to present a hybrid that is full of energy: color, texture, bold strokes – contained within the notion of the human figure and familiar surroundings.
A visiting artist and teacher for many years, Brown spent several years at the University of Southern Maine; he also taught at the University of New Hampshire in 1997. While as a young man New York exposed him to a lifestyle that the young pursue, moving to Berwick, Maine, in 1995 allowed him to settle into a more patient, reflective lifestyle. But his paintings have not “settled.” Perhaps better known as an abstract painter who works large, the paintings in this exhibition have all the energy, yet due to their scale more intimacy, than his larger, more abstract, compositions.
Mr. Lethem is interested in life’s many directions and, in this series, presents vignettes – slices of life – with which all of us can relate. The series is called “Homebodies,” and as the name suggests, we see figures engaged in activities that homebodies engage in. More narrative in structure than the larger abstractions (some of which were on view last summer at the Ogunquit Museum of American Art), these compact paintings present an equal energy in their multitude of complex, even conflicting, emotions – in the energetic way they’re painted and the mundane subject being referenced.
Bold and alive, Mr. Lethem’s paintings carve their own space on the wall with the energy of a New York graffiti artist.