Above image Winter Pasture by Laura Martinez-Bianco of NY - 3x7" Encaustic on board
Miniature Monumental
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A Juried National Exhibit of Unique Artwork from Across the Country
Our latest exhibit features artwork that can be held in the hand or measures less than 25 square inches in size. On View Sat., Feb. 4 to Fri., March 31. Artists' Reception Sun., Feb. 19 from 1 to 4 p.m. at the Museum. Patricia Miranda, a New York-based artist, curator and served as juror for the exhibit. |
Free Lecture: History of the Russian Lacquer Box
Saturday, February 25, 1 p.m. at The Museum
Complementing its current national juried exhibit, Monumental Miniatures, the Bristol Art Museum announces a lecture titled, History of the Russian Laquer Box, by Laura Garrity-Arquitt of the Russian Icons Museum on Sat., Feb., 25 at 1 p.m. at the Museum, 10 Wardwell St. in Bristol.
Admission is free, but those who wish to attend are asked to register through Eventbrite. The Russian Icons Museum has loaned to the Bristol Art Museum lacquer boxes that are currently on display.
“The lecture will explore the history of this art form in Russia, with a main focus on how it developed during and after the Soviet era,” shared Lecturer Garrity-Arquit. “I’ll also talk about some of the common fairy tales that are painted on the boxes and how they relate to Russian history and culture.”
Complementing its current national juried exhibit, Monumental Miniatures, the Bristol Art Museum announces a lecture titled, History of the Russian Laquer Box, by Laura Garrity-Arquitt of the Russian Icons Museum on Sat., Feb., 25 at 1 p.m. at the Museum, 10 Wardwell St. in Bristol.
Admission is free, but those who wish to attend are asked to register through Eventbrite. The Russian Icons Museum has loaned to the Bristol Art Museum lacquer boxes that are currently on display.
“The lecture will explore the history of this art form in Russia, with a main focus on how it developed during and after the Soviet era,” shared Lecturer Garrity-Arquit. “I’ll also talk about some of the common fairy tales that are painted on the boxes and how they relate to Russian history and culture.”
Black + White Juror Statement
In this community call for art, the artist’s ability to rely on color as one of its elements was stripped; forcing composition, mark making, and value to become the bedrock for artistic innovation. As a juror, I was fascinated by the technical scope embodied in the submissions along with the abundance of fresh ideas, multitude of mediums, and the conceptual range. This exhibit embraces many forms of 2D art and all stages of artistic development, expertly curated by the Extension Gallery’s staff. I would like to thank the Board of Directors of the Bristol Art Museum’s Extension Gallery at Rogers Free Library for inviting me to jury Black + White.
Many works left me feeling inspired and privileged to be working in this community of artists in East Bay, Rhode Island. However, the following works of merit displayed a passion for making and expression along with artistic integrity that deserves accolades.
Art can be more than the fine craft of realistic representation. Personal expression and use of the medium also draws in a viewer. Murray Norcross’ “Mekong Sortie” is an excellent example. In this painting, the artist’s aggressive brushstrokes, use of scale, and compositional arrangement move our eyes around the work and immerse us in the swirl of a memory.
In Caroline Calia’s photograph, “Portal”, the ordinary is elevated into the magical, allowing the viewer to be lost in the depths of a puddle.
When analyzing the composition of “Flutter and Fly 1 & 2” by Alison Plump, the underlying implied lines and shapes in this mixed media work create movement that keeps the viewer engaged for more than a passing glance.
Janet Maher’s “Center Series #2” layered graphite drawing is deceptively complex. It handles value, rhythm, and repetition through patterning in what first appears to be a symmetrical design but on closer inspection is instead an alluring example of asymmetrical balance.
Craftsmanship and technique attracted me to the cast paper of Victoria Guerina. “Dream Artifact #1” uses the pure white of the paper pulp’s cast form to produce the changing greyscale of natural shadows in this monochromatic study of a pair of feathers.
In “Tangled Roots,” artist Heather Stivison invites the viewer in for a closer look to appreciate both the array of mark making and complexity of subject matter in contrast to the simplicity of the pencil used to create it.
Many other pieces are likewise worthy of recognition; another judge on another day could have readily highlighted different works. Our community should be proud of the variety of work contained within this exhibit.
Many works left me feeling inspired and privileged to be working in this community of artists in East Bay, Rhode Island. However, the following works of merit displayed a passion for making and expression along with artistic integrity that deserves accolades.
Art can be more than the fine craft of realistic representation. Personal expression and use of the medium also draws in a viewer. Murray Norcross’ “Mekong Sortie” is an excellent example. In this painting, the artist’s aggressive brushstrokes, use of scale, and compositional arrangement move our eyes around the work and immerse us in the swirl of a memory.
In Caroline Calia’s photograph, “Portal”, the ordinary is elevated into the magical, allowing the viewer to be lost in the depths of a puddle.
When analyzing the composition of “Flutter and Fly 1 & 2” by Alison Plump, the underlying implied lines and shapes in this mixed media work create movement that keeps the viewer engaged for more than a passing glance.
Janet Maher’s “Center Series #2” layered graphite drawing is deceptively complex. It handles value, rhythm, and repetition through patterning in what first appears to be a symmetrical design but on closer inspection is instead an alluring example of asymmetrical balance.
Craftsmanship and technique attracted me to the cast paper of Victoria Guerina. “Dream Artifact #1” uses the pure white of the paper pulp’s cast form to produce the changing greyscale of natural shadows in this monochromatic study of a pair of feathers.
In “Tangled Roots,” artist Heather Stivison invites the viewer in for a closer look to appreciate both the array of mark making and complexity of subject matter in contrast to the simplicity of the pencil used to create it.
Many other pieces are likewise worthy of recognition; another judge on another day could have readily highlighted different works. Our community should be proud of the variety of work contained within this exhibit.
Information on the Passing of Former Board Member and Museum Founder,
Bob Arruda
Upcoming Art Classes for 2023!
Portrait Drawing with Allie Elia (Tuesdays, January 24th- February 14th)
Beginner Watercolor with Allie Elia (Tuesdays, January 24th- February 14th)
Painting Miniatures with Gina Croce (Monday, February 6th)
Drawing and Painting Birds with Elizabeth O'Connell (Mondays, February 13th- March 6th)
Painterly Monotypes with Kirsten Sorensen (Thursdays, February 23rd- March 16th)
Watercolor Painting with Mary Ellen Dwyer (Saturdays, March 4th- April 15th)
Pysanky- Ukrainian Easter Eggs with Hanka Robertson (March 31st)
Create a Mug Rug Pair with Hayley Perry (Spring 2023- TBD)
Painting the Light in Watercolor with Paul George (July 25th & 26th)
Beginner Rug Hooking with Hayley Perry (Wednesdays, July 26th- August 23rd)
Portrait Drawing with Allie Elia (Tuesdays, January 24th- February 14th)
Beginner Watercolor with Allie Elia (Tuesdays, January 24th- February 14th)
Painting Miniatures with Gina Croce (Monday, February 6th)
Drawing and Painting Birds with Elizabeth O'Connell (Mondays, February 13th- March 6th)
Painterly Monotypes with Kirsten Sorensen (Thursdays, February 23rd- March 16th)
Watercolor Painting with Mary Ellen Dwyer (Saturdays, March 4th- April 15th)
Pysanky- Ukrainian Easter Eggs with Hanka Robertson (March 31st)
Create a Mug Rug Pair with Hayley Perry (Spring 2023- TBD)
Painting the Light in Watercolor with Paul George (July 25th & 26th)
Beginner Rug Hooking with Hayley Perry (Wednesdays, July 26th- August 23rd)
Bristol Art Museum Vaccination Policy
The Bristol Art Museum looks forward to welcoming guests to enjoy fascinating exhibits in our gallery space and engaging in-person classes. To promote the health and safety of guests, members, volunteers and staff, the Board of Directors of the Museum voted to require proof of full vaccination for all individuals using our classroom space or attending group events effective September 1, 2021. (Full vaccination is defined as an individual has received all recommended doses of an FDA-authorized COVID-19 vaccine and two weeks has elapsed since the date of the final dose.) All teachers, students, volunteers, staff, visitors and renters - vaccinated and unvaccinated - must wear a mask while in Museum galleries. Visitors to the galleries must provide proof of vaccination.
The Museum will continue its efforts to provide a safe and comfortable visit experience by providing masks for teachers, students, volunteers, staff, and renters; wiping down frequently touched surfaces with a disinfectant; and providing hand sanitizer.
The Museum will continue its efforts to provide a safe and comfortable visit experience by providing masks for teachers, students, volunteers, staff, and renters; wiping down frequently touched surfaces with a disinfectant; and providing hand sanitizer.
