Past Exhibit › Relics of Futures Past
A group exhibition of contemporary clothing, objects, and assemblages seen through the lens of another time.
Archived on November 7th, 2009.
Exhibit Dates & Times:
September 25th – November 7th 2009
Admission is free and open to the public.
Open Saturdays 1 – 4 p.m. and by appointment.
Otherwise by appointment.
Friday September 25th 2009, 5:30 – 8:00 p.m.
Video of the opening reception.
93 Summer Street, Adams, MA 01220
In The Storefront:
Work By Jody Culkin
My work deliberately blurs cultural stereotypes about gender and the nature of the physical world. I am interested in telling stories about contemporary life through different means, sometimes using installation and time-based media such as animation. I create objects that are sometimes comic, sometimes menacing that combine literal and metaphorical functions from other eras. The â€œlookâ€ of these pieces refers to a wide range of sources, from hazardous material protective clothing to instruments appropriate for warfare in the Middle Ages.
Jody Culkin is an artist who has shown her sculptures, photographs and new media pieces at museums and galleries throughout the US, including P.S. 1, the Clock Tower, the Neuberger Museum, the Bronx Museum, and internationally, including IV Salon y Coloquio International de Arte Digital in Havana, Cuba; Palazzo delle Esposizioni in Rome, Italy; Amerika Haus in Cologne, Germany; Canterbury Arts Festival in Canterbury, England. Awards include an Artists Fellowship in Sculpture from the New York Foundation for the Arts; a sponsored project grant from the New York State Council on the Arts; a design award from the New York City Department of Transportation; and a research fellowship from ITP, NYU. She has taught Physical Computing at ITP as an adjunct, and is currently an Associate Professor in the Media Arts and Technology Department at City University of New Yorkâ€™s Borough of Manhattan Community College where she teaches digital media. She was the Acting Director of the Visual Arts Program at the New School from August 2002 to March 2003. She earned her M.P.S. degree at the Interactive Telecommunications Program of New York University and her B.A. at Harvard University.
In The Gallery:
Work By Laura Christensen
I design and construct small sculptures with wood, antique photographs and oil paint. For the works in this show, I painted miniature copies of Renaissance artworks onto 20th century snapshots. In Assumptions, a segment of Correggioâ€™s Assumption of the Virgin appears to hover above and behind an elderly woman standing near her watering can in a garden. The original fresco fills the dome of the Parma Cathedral in Italy. Juxtaposing these two images explores assumptions of belief, sacredness, and representation. In another piece, a painted copy of Christâ€™s body from Mantegnaâ€™s Dead Christ (1490) lies alongside modern sunbathers on a lake dock. The maple wood structure includes a three-dimensional extension of the dock, which morphs into a narrow rope ladder reaching towards the floor.
Laura Christensen grew up with rural and Midwestern ideals, such as polite actions, hard work, and small communities. Influences expanded to include the metropolitan buzz of New York City, airy valleys and giant peaks of the Rocky Mountains, older mountain woods of New England, fifteenth century Italian frescoes, family gatherings, friends, and maple syrup. In universities, she studied many subjects, accomplishing the B.A. in German, the B.S. in Economics, graduate work in art history, and the M.F.A. in Drawing.
Sheâ€™s exhibited many places, including Utah Museum of Fine Arts in Salt Lake City, Offenes Haus Oberwart in Austria, The Art Center of the Capital Region in Troy, New York, and Kidspace at MASS MoCA. For completion of work for the Kidspace show, she was awarded an Artistsâ€™ Resource Trust (A.R.T.) Grant, a fund of the Berkshire Taconic Community Foundation. In addition to focusing on her own art career, she teaches Drawing at Massachusetts College of Liberal Arts (MCLA) and shares her North Adamsâ€™ home with her playful husband, Greg Scheckler, and two purring cats, Jupiter and Masaccio.
Work By Lisa Nilsson
I forgo long looks at the forest for an intense study of the veins on the leaves on the trees. For me, this macro-lensed view of the world invites a question: What is the difference between a specimen and a relic?
In these assemblages, I take delight in an openness and inclusiveness that blurs the distinctions. Any given thing may be one or both simultaneously, so that a relicâ€™s formal qualities become primary, and a specimen is given the gold leaf-and-velvet treatment of its lofty cousin, the relic. There is an open-ended taxonomy where objects and â€œart objectsâ€ â€“ found, made by others, and made by me â€“ coexist. Ultimately, the distinctions are in the connections made by the beholder.
I believe in an economy of attention: Things are as important as the amount of attention paid them. Everything is or was important to someone at some time. The holy bones are loosed to be themselves, and objects found on the sidewalk are venerated in their reliquaries.
A graduate of the Rhode Island School of Design and a former illustrator, Lisa Nilsson lives in at the Eclipse Mill in North Adams with her husband, Rich Remsberg. Her work has been shown at Kidspace at Mass MoCA, Gallery 51, and the newly formed 341 Gallery in New York.
Work By Marianne R. Petit
“The Invisible Woman (part 1)”: a series of contemporary phenakistoscopes, pop-up books, paper dolls, automata and interactive dioramas.
Motivated by my interest in storytelling and inspired by recent events indicating a potential newfound status, this semi-autobiographical body of paper works explore contemporary roles through the aesthetic and political lens of Victorian mechanical toys and early animation devices.
Marianne R. Petit is an Associate Arts Professor at New York Universityâ€™s Interactive Telecommunications Program where she teaches courses in digital media, animation, collective storytelling, and oversees the Technology and Social Justice Curriculum. Additionally, she is the co-founder of Greylock Arts, a non-commercial artspace dedicated to technology and emerging arts practice. Her artwork, animation, video, comics, and online projects have appeared in festivals and exhibitions both nationally and internationally and have been broadcast on several networks including the Independent Film Channel and currently on WGBY.