(Boston) – The Boston University School of Visual Arts (SVA) presents the group exhibition Traces & Places on view Wednesday, February 10 through Friday, March 26, 2010 at the 808 Gallery at Boston University. The opening reception is open to the public and will be held on Friday, February 12, 6:00-8:00pm with the artists present.
Traces & Places explores through drawing the way in which a line or mark can represent both vestige and future action, emphasizing both the physicality of the mark itself and the space it encompasses or is about to encompass. Taking inspiration from Paul Klee’s notion that the movement of line, in the process of its execution, can be conveyed to the viewer in time as well as space, the exhibition presents the work of six artists who expand the perceptual and temporal limits of drawing. Executed with both traditional and non-traditional materials and in two and three dimensions, the work in the exhibition presents a surety of form with an uncertainty of course. Lines of varying sizes, shapes, and forms unfold in multiple directions creating a dimensional and perceptual play. As Klee further states “Art does not represent the visible; it makes visible.”
Traces & Places features artists Hannah Burr, Jennifer Kaufman, Chris Nau, Laurie Reid, Tucker Schwarz, and Nancy Murphy Spicer. The exhibition is curated by SVA Exhibitions Director, Lynne Cooney.
About the Artists.
Hannah Burr’s project challenges the (self imposed) idea that two dimensional work (in this case a type of drawing) and installation are separate conceits. Through the integration of traditional and non-traditional materials and multiple forms, Burr explores the gaps between two and three dimensions.
Jennifer Kaufman creates lines and forms that fumble their way through gravity and fall in an infinite balancing act. In Ricochet and Rhyme Kaufman unfurls rolls of black tape onto the blank wall in which coherent forms and reckless marks collide together in a rollicking tangle.
In Chris Nau’s wall-cut drawings, the artist cuts directly into the wall, extracting shapes and forms that are then reassembled back together. The final work shutters and reverberates. Nau’s drawing appears at the brink of coming undone and thus operates on the threshold between reality and illusion.
Laurie Reid’s delicate watercolors on paper explore the boundary between the visible and invisible. Playful marks activate the surface of the paper while subtle depressions of color, like waves rolling across a two-dimensional plane, simultaneously recede and reappear.
Employing the sewing machine as a drawing tool, Tucker Schwarz stitches outlines of suburban landscapes on muslin composed of isolated rooftops, telephone poles and tress. Traces of threads are left dangling and tangle their way across the drawing surface like expressionistic drips, resisting domesticated purpose.
Nancy Murphy Spicer creates a site-responsive, collaborative work that explores the inherent drawing of the space by juxtaposing the two most visually assertive aspects of the 808 Gallery – the Art Deco floor and ceiling. Employing simple materials in their off-shelf state – that of glass and mirror – the work collapses and disrupts these architectural elements into a seamless yet plane.
On view concurrently in the 808 Gallery is the exhibition Side by Side: Isabel Riley & John Guthrie, curated by Beth Kantrowitz of bkprojects.
The Boston University School of Visual Arts at the College of Fine Arts is a community of artists within a great university and in a city that offers diversity within a vibrant arts culture. Founded in 1954 as a professional training school at Boston University, the school offers an intensive program of studio training combined with liberal arts studies leading to the Bachelor’s of Fine Arts and Master of Fine Arts degrees. The first-rate teaching and mentoring of its regular faculty is supplemented by a vibrant program of visiting artists, guest lecture series, and exhibitions. The School offers introductory and advanced classes in painting, sculpture, graphic design, art education, ceramics, photography, glassblowing, and printmaking. A solid background in art history, contemporary critical analysis, and liberal arts complements the studio arts courses.
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