Aug
9
to Oct 15

Jim Hooper - Oyster Farmers: Portraits of a Sustainable Waterfront

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Talk & Reception: Saturday, September 14, 5-7pm

Oysters have always fascinated me. As a kid growing up in Baltimore, my grandparents had a dedicated oyster room in their house where the “grownups” would gather on special occasions to drink cocktails and eat oysters from the Chesapeake Bay. Years later, my then college age daughter worked on an oyster farm in Duxbury, MA. We ate a lot of oysters that summer and learned all about how they are farmed and about the people who grow them.

Advances in aquaculture and marine biology, as well as improved cultivation techniques have helped establish oyster farming as a significant cash crop in Massachusetts and other coastal parts of the country. Oyster bars and restaurants have been proliferating up and down the east and west coasts, and oysters are enjoying a renaissance in popularity not seen since the early 1900’s.

I do find a certain irony in this resurgent popularity of oysters. While most aficionados can describe in detail the provenance, names and the nuanced tastes of the oysters they eat, they have no idea about the people who grow them.

Oyster farmers are independent, hard working and interesting people. I really enjoyed getting to know so many of them while working on this project.

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Julia Salinger, What Now?
Nov
23
to Jan 6

Julia Salinger, What Now?

ARTIST RECEPTION: THURSDAY, DECEMBER 12, 5-7PM

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Julia Salinger is a visual artist, poet, printmaker, playwright, performer and actor. My visual work and my writing aim to create an external balance, in which to satisfy the two. The outer concrete reality with the inner fantasy life. The micro, the marrow of objects is what I wish to explore. It

becomes the skeletal framework, on which I can suspend lines, color, texture, words, shapes, thought,feelings and letters and express the space in between order and chaos.

For Salinger, combination of text and visual has been a natural thought process, interchangeable, one in thesame. As in her poem, “Broken Bits.”

I could always come back to you

In those dreams undreamt

Black hatted scavengers

Pluck the bones from sidewalk’s broken bits

Talons scratch into splintered rubble

Release urban treasures

But I want to remember you not underfoot

But asleep inside the coral tissues

when cells fold into one another

To create a false self

Otherwise known as a copycat

One by one enter into the velvet midnight interior

The prehistoric blossom sprayed pale yellow

In the catacombs outside Palermo In 1979

Disabled tendrils strained

Bittersweet wash of the persimmon

Depleted IV of the day

Tease the spaces of involvement

Sometimes the tea tastes like simmered meat

in a warm bath, an occasional gurgle

The raw earthy sludge

Of an odd cut

Writing in the rain

Makes me swallow my words

Do instructions have an expiration?

"My imagination loves the details. As a child, I remember drawing the buds of a tree at the Bronx Botanical Gardens. I can still feel my pencil carving out all the distinguishing marks. When I draw, it is a direct line from the heart to the paper. There are no fillers, no “New and Improved,” just pure immediate gesture. I learned early on to closely examine both objects and people."

She is interested in the insides of things, the true essence in all its raw appeal. Maybe this stems from her father, who was a doctor, and her interest in looking at the illustrations in his medical books.

"My work is my internal poetry, a record of my interior and exterior life."

I began as an art historian under my mentor, Irving Sandler, who wrote “The Triumph of American Painting. I continued my studies at Columbia University and worked for Ronald Feldman Fine Arts as a researcher for five Andy Warhol print portfolios. During this period, I was accepted into the prestigious curatorial program at the Hirshhorn Museum in Washington, D.C.. I have also worked at the Cooper-Hewitt Museum of Design, The Guggenheim, The Neuberger Museum and the Whitney.

In 2001, I began to focus solely on my artwork, after working in the music business for seventeen years. I have shown at Julie Heller in Provincetown and the Cherrystone Gallery in Wellfleet. My work is in collections in the U.S., Europe and Asia. I have been represented by Farm project space in Wellfleet, MA.

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Jun
27
to Aug 6

James Lechay, Selected Works, Curated by Megan Hinton

Artist Reception and Talk by Curator, Megan Hinton. Saturday, July 6, 7-9pm. Talk begins at 7:00pm with reception to allow.

Rose in Rose,  oil on canvas.

Rose in Rose, oil on canvas.

The late Wellfleet artist James Lechay (1907-2001) was an abstract impressionist who painted with a combination of bravado and subtlety. Loose bold contours defining an image on a flat ground is typical of his work. Lechay was also incredibly versatile and inventive. Works in oils, gouache, casein, and lithography show his mastery of various materials and techniques. 

His oeuvre encompasses the traditional genres in representational painting—portrait, landscape, and still life—but often made in unusual ways. Portraits sometimes appear within landscapes, melding genres. His landscapes include cityscape some abstracted to their essence in a series of pieces simply and powerfully titled “Walls,” “Buildings,” “Cathedrals,” and “Variations.” Still lifes are flattened and separated, upending the tradition of rendering objects on a tabletop with depth and a sense of space.

James Lechay’s life as a painter began in earnest in 1929 when he dropped out of psychology graduate school at the University of Illinois and headed to New York City to study painting with his older brother Myron Lechay (1898-1972). At the time, Hans Hoffman was exposing New York artists to European Modernism. Analytical, synthetic, and mechanical Cubism coupled with Surrealism and Naïve/Primitive Painting were heady influences, and in their midst the New York School of Painting was born. Lechay was immersed in and affected for the rest of his life by the surface-oriented painting that emerged in that era. But he was never a slave to credos or trends. 

Lechay was a long-time professor of painting at the University of Iowa. He and his wife Rose spent summers in Wellfleet where they lived in a mid-century Modern house designed by architect Hayden Walling. Lechay was a regular exhibitor at the late Sally Nerber’s Cherry Stone Gallery in town. This exhibition at Wellfleet Preservation Hall preserves his legacy and demonstrates the painter as one of Wellfleet’s most important Modern artists. 

-Megan Hinton, 2019


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Jun
1
to Jun 25

Daniel Cantor Yalowitz - I Wonder as I Wander: An Archetypal Life Journey

Reception : Saturday, June 1st, 5:00-7:00pm

Book Presentation: Journeying with Your Archetypes: The Search for Deeper Meaning in Daily Life Tuesday, June 4th, 7:00-8:30pm

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About the Photography . . The photos you’ll see in this space emanate from a few key themes. These themes have been critical to my heart and my mind as well as my photographic eye in the determination of what and how to “take my shots”. Taken individually and collectively, they offer you some insight into the way I see, view, and experience the world. This exhibit has been created and curated on two levels: photographically, by utilizing and drawing on these themes; psychologically, by seeking to understand their meaning through an intercultural and global lens.

Paradox

Conventional wisdom and cultural ethos seem to preclude a deep understanding of being able to hold opposites or contrast with equal weight and depth. It may be said that, as our culture and nation become increasingly more bifurcated, stratified, and differentiated, it becomes more challengng to be able to hold and sustain “one AND the other”. My mentor-from-afar, C. G. Jung, was very fond of saying “It’s not a question of one OR the other; rather, the question becomes one of our ability to discern and integrate the one WITH the other and hold them together at a given moment in time.” I especially appreciate paradox in the visual field, as I find it arresting, and at times confusing – always with a fascinating narrative that lies beneath the surface of our ability to see.

Going Beyond the Obvious and Beneath the Surface

This leads me to use my training, my eyes, my life observations and experience to dig deeper, to highlight and exemplify the contrasts and paradoxes throughout our lives and world in subtle and meaningful ways.  If a photograph is worth a thousand  words, and tells a story, it ought as well to ask questions: WHY the “this” with the “that”? How do they add up? How do they make sense? What’s the “under”-story here – or the back-story - that I cannot see or read? What hints and nuances can help me to grasp a deeper understanding of the photo, its content, story, and context?  I add to this my favourite question:  “Is there more?”

Symbols and Archetypes

As a cross-cultural and developmental psychologist, I was trained to look deeply into meaning and motive when it comes to human behavior, thought, performance, arti-fact, and story. This symbolic – or archetypal – perspective enables me to view and question what’s under the surface, and what’s beyond the superficial limits of our understanding and ability to make meaning. My photography is an effort and a pro-cess for both myself and viewers to question and embrace the deeper, symbolic meaning of a visual scene and its narrative. This archetypal approach enables us to view and interpret visual information in more than one way, and on more than one level.  What we come forward with is not so much an open and shut “answer” to our questions, but, rather, a “response” that brings greater openness to understanding and learning to the innumerable situations and possibilities in our lives.

About the  Photographer. . .

Daniel Cantor Yalowitz, Ed.D., is a Brooklyn, NY born and NYC-bred Jewish American Guy.  He has traveled to 88 countries, and hopes someday to make it to the century mark.  His travels and travails have generated wonderful stories for decades of entertainment.  To this point, he wants you to note that as a child growing up in the Chelsea neighborhood in downtown Manhattan, he wanted to be a National Geo-graphic photographer.  This exhibit is about as close as he will ever get to that childhood aspiration.  

Daniel’s first international journey was at age ten with his family to Montreal’s “Expo ‘67”. He sees himself as both a global citizen, traveler, and a change-agent within his home communities and professional experiences. Beyond the tales and (sometimes unbelievable) stories he brings home with him, Daniel is always sure to bring home photos which tell these stories.  

A cross-cultural/developmental psychologist by training, and an educator through experience, Daniel finds, frames, and creates his photographs to serve as both narratives and questions. He is simultaneously looking at, into, and beyond the visual field to evoke a sense of yearning and learning, longing, and belonging.  He lives within his photos, feeling and sensing them with a wide range of emotions, engaging opposites, paradox, challenge, change, and, at moments, whimsy and serendipity. Daniel is particularly challenged and excited by photographic themes of bounda-ries, liminality, pathways and portals, lacunas, and the bridging of opposing forces.

Daniel’s lifelong training and abundant curiosity about “all things Jungian” brings about another dimension to his writing, poetry, and photographs. In his recent book, Journeying with Your Archetypes: The Search for Deeper Meaning in Daily Life (Booksmyth Press: Shelburne Falls, MA: 2018), he brings symbols and archetypes to life through his clear-minded observations and experiences in life and the world.  Daniel’s approach makes Jung’s terms and concepts accessible and comprehensible to everyone, using both context and culture as his dual lens for making meaning from the at-times disparate and sometimes harmonious content that comes before his lens.  He hopes that you ques-tion and learn from what YOU observe and experience in these photos.



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Sep
1
to Oct 9

Wendy Luttrell -- Collaborative Seeing

Artist Talk and Reception to Follow: Saturday, September 01, 5-7pm

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Sociologist Wendy Luttrell’s exhibition is the culmination of a project that put cameras in the hands of children at ages 10, 12, 16, and 18, producing images that challenge dominant representations of poor/working-class/immigrant kids, families and schools as broken and damaged.  

Luttrell’s approach to visual research explores how the young people used their cameras to compose their identities, highlight their moral thinking, act on behalf of their family, friends and communities, and frame their learning and growth.   

Viewers are invited to look, reflect and consider the lenses they are using to “read” and “appreciate” the images.  At a time when distorted and increasingly fractious visions of “marginalized” communities proliferate, Luttrell’s exhibition compels us to consider what shapes our ways of seeing.

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Aug
4
4:00 PM16:00

The Woodfleet Project 2.0

THE WOODFLEET PROJECT 2.0,  an interactive one-night-only art and community-building event at Wellfleet Preservation Hall on August 4, 2018 (4 - 7 PM).    An evening of affordable art for sale by artists from all over will be available at two set prices. Tasty treats, specialty cocktails, craft beer from Outermost Brewery and The Wellfleet Beachcomber will be available. We hope to see you there!      

THE WOODFLEET PROJECT 2.0, an interactive one-night-only art and community-building event at Wellfleet Preservation Hall on August 4, 2018 (4 - 7 PM).  

An evening of affordable art for sale by artists from all over will be available at two set prices. Tasty treats, specialty cocktails, craft beer from Outermost Brewery and The Wellfleet Beachcomber will be available. We hope to see you there!

 

 

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Jul
14
to Aug 26

Jeremy Willis - Awkward Tan Lines

Artist Reception: Saturday, August 18,2018 5-7pm

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In my paintings, I explore the intersection of the popular and the personal. The figures slip in and out of visual coherence and the subjects make direct cinematic overtures to one another and the viewer. They are seen in moments of unhinged abstraction that linger on the edge of clarity.

A subject is examined twisted, broken, and reconfigured so that the most direct communicative gestures are rendered illegible. I subvert direct body language into a hybrid, human rorschach blot, providing a multiplicity of psychological interpretations for the viewer. The paintings occupy a space that is neither depicted nor expressive, but somewhere in between.

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Jun
1
to Jul 11

Connie Saems: Memories Push My Pencil

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ARTIST RECEPTION: SATURDAY, JUNE 9, 5-7PM

This body of work, Memories Push My Pencil, came out of an earlier project of crafting boxes from basswood based on childhood memories.  The creation of these boxes led me to further explore my relations with animals and with drawing itself.

During the process of drawing I learned that the quality of the line revealed and intensified a sense of intimacy with the creature.  Some of the animal’s qualities are conveyed through the type of line drawn:  long flowing marks, short dark marks, curving lines or deep color.  

I have chosen the portrait format for these large-scale images to elevate the importance of the creature to that of a family member.  These portraits honor the significance of my relationship with animals from my life on the farm and my current life by the ocean.

Memories push my pencil. Each line, each mark of the graphite connects me to a time and place from my life on a farm in Indiana where isolation surrounded me.  In search of a relationship I could trust, the farm animals provided me with ears to hear what was in my heart.

 

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Catherine Hess:       A Singular Vision of the Outer Cape
Apr
7
to May 26

Catherine Hess: A Singular Vision of the Outer Cape


Reception: Saturday, May 26, 2018, 5-7 PM

8x11 Surf**


April 7- May 26, 2018
Hess will exhibit over 20 monotypes at the Hall. Also known as the “painterly print”, and favored by such masters as Edgar Degas, a monotype is a single, unique print.  Hess’s monotypes in this exhibit were all inspired by the Outer Cape, a place she has known and loved for over forty years, first as a summer visitor, and now as a part year Wellfleet resident.


Hess is inspired by the Outer Cape’s often dramatic and constantly changing light, clouds, wind, and tides. As a plein air watercolor and oil painter as well as a creator of monotypes, she sees and aims to capture the effects of these changing conditions on colors, shapes and shadows in the marshes, dunes and shorelines of Eastham, Wellfleet, Truro and Provincetown. 

Hess was first introduced to monotypes in the 1980s, but only recently turned to this medium as another way to translate her perceptions of the Outer Cape into art.  Now, in addition to seeking out views that inspire her to paint on location, she has her eye out and her camera ready to shoot scenes that may later inspire monotypes. These she tends to create in the winter months that are less conducive to outdoor painting, and which require a printing press.

Using a photo as reference, and recalling the feeling of the scene, Hess paints on plexiglass with small brayers, or rollers. She often layers colors of the oil-based inks, which tends to create some translucency in the final works.  She also makes shapes and marks with the rollers and their edges. Given the difference in her tools and methods, her monotypes tend to be looser and more abstract in style than her watercolors and oils.

From the painting on plexiglass, and using a printing press, Hess makes one image on paper. What emerges is to some extent a surprise, as some colors blend and some marks are reshaped. The layers of ink and the sweeping as well as choppy marks of the rollers evoke shifting clouds and sands, and hint at the depths and constant movement in the skies and seas. These works on paper are evocative of the scenes that inspired them – fleeting views of the Outer Cape’s distinct and beautiful landscape.


Catherine Hess (b. 1954) has lived in upstate New York, the Boston area, and now in Alexandria, Virginia in the winter months, and Wellfleet the rest of the year.  She studied art in college and in community courses and workshops. She is a longtime member of the Art League in Alexandria and since 2014, has regularly been juried into monthly shows, and as a result is a member of its Gallery 75, showing her work there year round. She also has exhibited in both open and juried shows throughout the metropolitan Washington, DC area, and last year participated in a group exhibition in Maryland of figure paintings.

On Cape Cod Hess has been a member and exhibited at the Creative Arts Center of Cape Cod, the Truro Center for the Arts at Castle Hill, and the Provincetown Art Association and Museum. She has participated in After Hopper and Outermost Inspirations exhibits of the Addison Art Gallery in Orleans, MA. In March-April 2018 she is included in Artists and Muses, an exhibit at Barnstable Town Hall of figure painters working together at the studio of Paul Schulenburg, a well-known Cape artist. More of her work can be seen at www.CatherineHessArt.com.

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Feb
28
to Mar 16

Carol Fitzsimons: Fiber Images

Opening Reception: Saturday, March 03, 5-7pm

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The predominant subject of my work is the natural world: fish, birds, reptiles and flowers most of which can be found in the ponds, woods, marshes, coastal waters or along the roadsides of Cape Cod.   The inspiration for the medium that I work in came from pictures that my grandmother used to make in embroidery and needlepoint.  While using the same materials that she used (embroidery thread and yarn), my particular technique developed as a result of my inability to sew.  The technique was self-imagined and self-taught and continues to evolve with an increasing level of detail and intricacy.

I first sketch the image(s) on canvas board and then “rough color” them and the background with paint in the predominate colors of the fibers that I plan to use.  Then, I cut the various fibers individually and affix them to the canvas with glue, using a tooth-pick to push the threads as close together as possible.   A good deal of consideration is made in selecting the particular fibers to be used in each picture in order to give each image the similar variations of texture, color and luster that can be found in the real-life subject.

The larger pictures (2’ X 3’) take 100 to 150 hours to complete. Most of the smaller pictures (16” x 20”) take 30 to 45 hours to complete. Some of the more detailed smaller works take much longer.

 About

My work has been accepted at juried exhibits at the Cultural Center of Cape Cod, Cotuit Center for the Arts, Creative Arts Center and Provincetown Art Association and Museum and has been exhibited and sold at Curiouser and Curiouser in Wellfleet, MA.   In 2016, I was accepted a member of the Society of Cape Cod Craftsmen - one of the oldest professional fine craft organizations in New England.

I have been vacationing with my family in Wellfleet since the mid 50’s and was fortunate enough to be able to move here permanently in 2013 after retiring from a career as an insurance underwriter in New York City.  Retirement has afforded me the time to pursue my artwork on a serious basis.

 

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Peter Lenrow _Wonder
Jan
20
to Feb 27

Peter Lenrow _Wonder

Peter Lenrow took up painting when he retired in 2011.  He chose watercolor,    and has been guided by workshops and demonstrations primarily on   landscapes, figure drawings, and portraits. At the same time he began painting, he began writing poems, some of which were about the settings he was painting. He received guidance in the Poetry Writing Group at the Westport Senior Center.  After several years, he discovered that most of his pairs of paintings and poems were about shelter –- coves, harbors, unnoticed nooks. In 2015, he produced a large exhibition of these pairs of paintings and poems at the Westport Public Library. It was designed to celebrate “nooks” as reminders of how precious and vulnerable natural shelters are in our environment.

Lenrow has gone on to create many paintings and poems that are not linked and include a wide variety of subjects such as seascapes and historic landmarks. He typically explores everyday settings and moments that evoke a sense of wonder.                

His work has been exhibited at the Westport Art Group galleries, South Shore Open Studio, Westport Library, and Bristol.  

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Oct
26
to Jan 3

Ellen LeBow: WELLFLEETIANS 1970’s – 2017

 

OPENING RECEPTION: Friday, October 27, 6-8pm

 WELLFLEETIANS 1970’s – 2017

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An Ongoing Portrait Project Recording the Faces of Our Wellfleet Generation.

These recent portraits are the beginning of a project conceived a decade ago. When wandering the Wellfleet graveyards it occurred to me that although there are plenty of archived photos of the town there are very few intimate images of our “Ancestral” Wellfleetians* for us to honor and contemplate.

We forget that a town is nothing less than an accumulation of layers. Each over-lapping generation, in love with their Wellfleet, perceives it in their own image until the next generation comes along. We are rarely aware of those now gone who relinquished Wellfleet to us, or of those who’ll next claim it for their own.

Wellfleet Preservation Hall’s goal to embody and preserve the community’s spirit for now and future generations inspired me to attempt the same by presenting our “layer” individual by individual. 

I’ve been drawing us since I arrived in the early 70’s and chose drawings rather than paintings this time as well, hoping to more closely capture the immediacy of the living person. I asked those who I drew not so much for their role in town as for the challenge of their face, and this is far from a complete collection.  

Thanks to Wellfleet Preservation Hall, the Massachusetts Cultural Council, and above all my patient sitters, this has been one of the more tender experiences of my life. Art can do nothing more than catch an approximation, a fleeting likeness of a living, moving person. If I’m able to pass on even that much of a Wellfleetian’s spirit I’m satisfied.

There are many more people I want to add to the project and I hope they’ll let me because my list is long. 

Meanwhile I offer these images to us as much as to the future and it’s my sincerest hope that our community finds honor, humor and joy in the exhibit.

Love,  Ellen L

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The Woodfleet Project
Aug
20
5:00 PM17:00

The Woodfleet Project

One day pop-up art event, exhibition & Outer Cape BBQ by Terra Luna & Friends! 

After 10 years of hibernation, we’re pleased to announce the return of The Woodfleet Project. The Woodfleet Project 2.0 is a pop-up art event, exhibition, and experience designed for guests of every age.

Inside, this one-day only exhibition will feature two-set priced small works by working artists based locally and nationally.  Outside guests will find a backyard BBQ and art-related fun. 

Featuring:

Outer Cape BBQ* by Terra Luna & Friends

Works for sale by 50+ artists

Specialty Dry Line Gin cocktails

Craft beer by the wellfleet Beachcomber

Lewis Brother’s ice cream truck

Foxglove, AN INSTALLATION by Jon Verney

T-shirts { Woodfleet t’s are back! }

            

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Jon Verney
Jun
13
to Jul 24

Jon Verney

Jon Verney is an emerging artist who works in painting, photography, and video to describe notions of transformation and transcendence through landscape and materiality.  

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Agnes Collis
May
11
to Jun 7

Agnes Collis

In my approach to painting I strive to capture the simple beauty of life on Cape Cod.
My compositions capture the changing energy of the ocean, which can transform from destructive turbulence one day to a sea that lures tranquility the next. The brilliant colors of the Cape, the reflected light and the simplicity of nature’s forms move me to explore and create altering rich visual experiences. Agnes Collis

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