72nd A-ONE Exhibition


SEPTEMBER 3 - OCTOBER 20

Artist Reception September 10: 5:30pm-7:30pm

72nd A-ONE is a national exhibition highlighting the diversity of work that is
currently being made by established and emerging artists.




Established in 1949 as the New England Exhibition, a regional exhibit, it later became known as Art of the Northeast and is now a national exhibition. It features a wide range of collectible contemporary artwork that is both vibrant and surprising. Throughout its history, Silvermine’s signature exhibition has featured the work of many prominent artists including Louise Nevelson, Elaine de Kooning, and Milton Avery, and jurors have included major critics, curators, and directors from influential art institutions.

 

Curator

Sharon Butler


Painter, Art Writer, Founder of "Two Coats of Paint"

Butlers paintings, explore the tension between the digital and handmade. Solo painting exhibitions in 2016, 2018, and 2021 at Theodore Gallery were written about in Hyperallergic, artcritical, The New Criterion, The James Kalm Report, Time Out New York, and New York Magazine. Sharon has served as a lecturer and/or Visiting Artist/Critic at many notable art programs and organizations, including Brown University, Cornell University, Vermont Studio Center, Penn State, Pennsylvania Academy of the Fine Arts, the Art Institute of Chicago, the Hoffberger School of Painting (MICA), School of Visual Arts, and Parsons School of Design. She currently teaches in the MFA programs at the New York Academy of Art and the University of Connecticut




Bells for Magical Arts, watercolor on prepared rice paper, 26 x 17 in


Board the Plane, watercolor on prepared rice paper, 26 x 17 in



Bells for Magical Arts and Board the Plane are made out of fragile papers that are soaked in color and then as soon as the paint has bled into the paper, very carefully, to not break the paper, rinsed with water, and painted again, the process is then repeated. The works are created in a chemical reaction over time so residues of the paint settle as dust-like traces and hold them both in the present however also with a sense of imprints of what used to be. The works have a quality that resembles overexposed polaroids' presence in glimpses.

The paper works ephemeral quality comes from the first summer of complete lock-down in Berlin, where I drove to my studio through a deserted city on my mountain bike, with no people, no cars, just silence, and strange transient sunlight and a feeling of being the last person in the world. It was a surreal experience, everything was so quiet and beautiful and there was a sense of “past” in the empty city, a place everyone had left and was no more. At the same time, this was before we knew when a vaccine would come, so there was at the same time this very real feeling of imminent danger. That sensation came two years later expressed in these works.