Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
Join us for a knit and crochet get together. Work on your own project or help us make items for local charities. If you know how to knit and/or crochet but are stuck on a project or technique, or if you are just looking for someone to craft with, this is the group for you. This program is for adults.
Check out other library programs!
Knitting & Crocheting
Met Music Director Yannick Nézet-Séguin takes the podium to conduct Strauss’s one-act tragedy. Leading the company’s first new production of the work in 20 years, Claus Guth, one of Europe’s leading opera directors, gives the biblical story a psychologically perceptive Victorian-era setting. South African soprano Elza van den Heever leads a celebrated cast as the abused and unhinged antiheroine, with Swedish baritone Peter Mattei as the imprisoned prophet Jochanaan; German tenor Gerhard Siegel as Salome’s lecherous stepfather, King Herod; American mezzo-soprano Michelle DeYoung as his wife, Herodias; and Polish tenor Piotr Buszewski as Narraboth.
Pre-screening talk with Michael Ciavaglia, PhD: 12 p.m.
This free pre-screening talk will take place at the Dolan School of Business Event Hall.
The Met: Live in HD - Strauss’s Salome
Our eight-week session of SPRING 2025 DRAMA ARTS CLASSES for kids, teens and adults is now available on our website! Classes begin April 19, 2025, and take place after school, evenings and weekends at The Sterling Farms Theatre Complex, 1349 Newfield Avenue in Stamford, Connecticut: a professional facility with two theatre spaces and three studio classrooms. Our faculty consists of local, professional artists and arts educators dedicated to creative enrichment in the community. Classes are offered in acting, improv, sketch comedy, musical theatre, dance, on-camera, AND MORE!
ALL SKILL LEVELS WELCOME! (From the novice beginner to the seasoned veteran.)
Discounts for siblings/spouses registering together!
Payment plans available!
Scholarships for those who qualify!
Visit www.curtaincallinc.com
or contact our Education Director Brian Bianco at brian@curtaincallinc.com or
203-329-8207 x700.
ACT NOW TO ACT OUT!
Curtain Call, Inc. is Stamford, Connecticut's longest-running and only nonprofit, theatre-producing company, offering year-round, live, theatrical productions, concert events, and educational workshops. Voted Best Local Theatre Group 10 years in a row by Fairfield County Weekly's Annual Reader's Poll, and Best Performing Arts Group 12 years in a row by StamfordPlus Magazine. Recipient of the 2011 2011 Governor’s Award for Excellence in Culture and Tourism and the 2016 ACE Award for Excellence in the Arts.
Curtain Call's Spring 2025 Theatre Arts Classes for Kids, Teens, and Adults
Kids in 3rd through 5th grade can come and play games, bring your friends and make new ones too!
Check out other library programs!
Kid Gaming
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
The GR Art Gallery presents:
Ellen Gordon
“A Creative Journey II”
April 4th, 2025 – May 30th, 2025
Opening Reception: Saturday, April 5th from 4 PM – 7 PM
“A Creative Journey II”” is Ellen Gordon’s first solo exhibit at the GR Art Gallery. This exhibition is a retrospective of paintings and drawings by the artist created since 2009. In 2009 Ms. Gordon had her first solo exhibition entitled “A Creative Journey” at the Stamford Mayor’s Gallery. The exhibit will be on display from April 4th thru May 30th. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497.
The GR Art Gallery will host a reception to celebrate the artist on Saturday April 5th from 4 – 7 PM. The public is invited.
Ellen Gordon is a Stamford, CT-based award-winning mixed media artist. The colors and patterns in her artwork are roller coaster rhythms of fences, grids, and fractured geometries – a kind of mapping. She guides us along a journey of the personal narrative through landscaped layers of abstraction and portraiture. Playful and speculative, the rhythms remain determinedly open-ended and essentially borderless. An un-plotted story with unbounded possibilities. Over the past two decades, Gordon’s work has evolved through many phases, but her main body of work centers on figurative collages - intimate yet colorful portrayals of a woman in her own thoughts, providing the viewer a window into honest moments with a series of striking and bold women. Her most recent work has been a transition into the abstract patterns, experimenting with geometric shapes and inverted forms in color palettes evoking various states of mind.
Ms. Gordon has been active in the local arts for many years. She currently serves on the board of The Greenwich Art Society and The Connecticut Women Artists. Ms. Gordon is a commissioner of The City of Stamford’s Cultural Arts and Culture Board. She is the former Executive Director of the Loft Artists Association and was Co President of the Stamford Art Association.
In 2022, Ms. Gordon became the curator of the Mayor's Art Gallery in Stamford, CT.
The GR Art Gallery is located at 1086 Long Ridge Road, Stamford, CT 06903. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497. Parking is available and the building is handicap accessible.
"A Creative Journey II", Ellen Gordon at the GR Art Gallery
If you are struggling with stress, an over-active mind and want to find a new perspective on how mindfulness and meditation can help in navigating the challenges of your everyday life, then join Prabha Makayee as she guides you through the steps of meditation. See what you can accomplish by taking responsibility over what kinds of thoughts you think. With just one second, one breath and one thought of changing your perspective you can realign your well-being to a more peaceful, happy mindset.
Check out other library programs!
Mindfulness Meditation For Adults
Our eight-week session of SPRING 2025 DRAMA ARTS CLASSES for kids, teens and adults is now available on our website! Classes begin April 19, 2025, and take place after school, evenings and weekends at The Sterling Farms Theatre Complex, 1349 Newfield Avenue in Stamford, Connecticut: a professional facility with two theatre spaces and three studio classrooms. Our faculty consists of local, professional artists and arts educators dedicated to creative enrichment in the community. Classes are offered in acting, improv, sketch comedy, musical theatre, dance, on-camera, AND MORE!
ALL SKILL LEVELS WELCOME! (From the novice beginner to the seasoned veteran.)
Discounts for siblings/spouses registering together!
Payment plans available!
Scholarships for those who qualify!
Visit www.curtaincallinc.com
or contact our Education Director Brian Bianco at brian@curtaincallinc.com or
203-329-8207 x700.
ACT NOW TO ACT OUT!
Curtain Call, Inc. is Stamford, Connecticut's longest-running and only nonprofit, theatre-producing company, offering year-round, live, theatrical productions, concert events, and educational workshops. Voted Best Local Theatre Group 10 years in a row by Fairfield County Weekly's Annual Reader's Poll, and Best Performing Arts Group 12 years in a row by StamfordPlus Magazine. Recipient of the 2011 2011 Governor’s Award for Excellence in Culture and Tourism and the 2016 ACE Award for Excellence in the Arts.
Curtain Call's Spring 2025 Theatre Arts Classes for Kids, Teens, and Adults
Whether you're a seasoned grandmaster or a beginner eager to learn, this event offers an opportunity to test your strategic prowess. Engage in friendly matches, improve your chess skills, and enjoy intellectual challenges in a welcoming and inclusive environment!
Check out other library events!
Chess - All Ages
Join us for a fun and relaxed evening in the textile studio! Whether you want to mend a favorite piece of clothing, stitch some custom embroidery on an everyday purse, knit, crochet, or start a simple project with friends, instructor Chelsea Danburg will guide you through the process. Bring your works-in-progress or project ideas and we'll take care of the rest! Sessions are 2 1/2 hours long and open to all skill levels (ages 18+).
Designed to be a social evening, this is the perfect opportunity to gather a group of friends, learn something new, create fun projects, and connect. Unleash your creative side! Students are welcome to bring snacks to enjoy & share with the group.
Fiber & Friends
Are you contemplating opening your own business? Being your own boss? This presentation will discuss all the most significant issues and actions you will need to address to start your own business. Taking your great idea from dream to reality requires many steps and lots of preparation, and this in-person workshop will show you the way.
In this fast-paced, interactive, experiential workshop, participants will gain a greater understanding of starting and owning a new small business, what’s needed to operate properly, the planning and vision to sustain and grow your business, and other skills to make the transition to being an entrepreneur.
LEARNING OBJECTIVES:
- Learn about the common business entity structures and which is right for your business.
- Learn about the various components of a business such as marketing, financial planning, cash flow, insurance, financing, and many others.
- See if you and your family are truly ready for this life changing decision.
Presenter: Bill Mollica
Bill Mollica is retired from a 29-year career as a large national and global commercial accounts insurance broker, where he excelled at creative problem-solving, and complex, comprehensive negotiation on behalf of his Fortune 500 clients. Bill also created and delivered several training programs for insurance professionals on workers compensation, general liability, automobile liability, and excess/umbrella liability, and is thus a SCORE subject matter expert (SME) in insurance. He is a teacher, mentor, and coach, and a literacy volunteer doing individual tutoring and leading ESOL conversation groups.
Sponsored by Wilton Economic Development Commission, Wilton Chamber of Commerce and Wilton Library Association
Entrepreneur Basics-What You Need To Know
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
The Greenwich Art Society is offering:
INTERMEDIATE and ADVANCED ACRYLIC LANDSCAPE PAINTING
11 THURSDAYS
April 10 – June 19
10:00 am to 12:00 pm
Program Description
Students will take their own photos as a point of inspiration to create their own interpretation rather than a copy. From their photos, students will produce a value sketch to learn how to SEE the values. The value sketch will be the guide for the painting. They will also learn how to set up a palette for landscape painting. Students will learn to see and express color, values and the illusion of depth. Classes will include lectures, demonstrations, as well as individual instruction. If you are new to the class, please bring a drawing or painting as a sample of your skill level to the first class.
Max. 8 students.
Joseph Fama studied at the School of Visual Arts and the Reilly League of Artists. Cesare Borgia was his teacher. Fama earned a bachelor’s degree from Iona College. He’s a member of the American Artist Professional League, Oil Painters of America and American Impressionist Society, Inc. His work has been exhibited throughout the U.S. and has won numerous awards.
Fama has served as an Art Director for several advertising agencies in New York City and worked with clients and copywriters in developing concepts and visual images for ads and T.V. commercials.
The Greenwich Art Society is offering INTERMEDIATE and ADVANCED ACRYLIC LANDSCAPE PAINTING
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
The GR Art Gallery presents:
Ellen Gordon
“A Creative Journey II”
April 4th, 2025 – May 30th, 2025
Opening Reception: Saturday, April 5th from 4 PM – 7 PM
“A Creative Journey II”” is Ellen Gordon’s first solo exhibit at the GR Art Gallery. This exhibition is a retrospective of paintings and drawings by the artist created since 2009. In 2009 Ms. Gordon had her first solo exhibition entitled “A Creative Journey” at the Stamford Mayor’s Gallery. The exhibit will be on display from April 4th thru May 30th. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497.
The GR Art Gallery will host a reception to celebrate the artist on Saturday April 5th from 4 – 7 PM. The public is invited.
Ellen Gordon is a Stamford, CT-based award-winning mixed media artist. The colors and patterns in her artwork are roller coaster rhythms of fences, grids, and fractured geometries – a kind of mapping. She guides us along a journey of the personal narrative through landscaped layers of abstraction and portraiture. Playful and speculative, the rhythms remain determinedly open-ended and essentially borderless. An un-plotted story with unbounded possibilities. Over the past two decades, Gordon’s work has evolved through many phases, but her main body of work centers on figurative collages - intimate yet colorful portrayals of a woman in her own thoughts, providing the viewer a window into honest moments with a series of striking and bold women. Her most recent work has been a transition into the abstract patterns, experimenting with geometric shapes and inverted forms in color palettes evoking various states of mind.
Ms. Gordon has been active in the local arts for many years. She currently serves on the board of The Greenwich Art Society and The Connecticut Women Artists. Ms. Gordon is a commissioner of The City of Stamford’s Cultural Arts and Culture Board. She is the former Executive Director of the Loft Artists Association and was Co President of the Stamford Art Association.
In 2022, Ms. Gordon became the curator of the Mayor's Art Gallery in Stamford, CT.
The GR Art Gallery is located at 1086 Long Ridge Road, Stamford, CT 06903. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497. Parking is available and the building is handicap accessible.
"A Creative Journey II", Ellen Gordon at the GR Art Gallery
Practice drawing the human figure at our Open Figure Drawing Sessions! Every week, a live model is available for you to sketch freely at our studio. Sessions are 3 hours and open to all skill levels, 18 and over. Bring a drawing pad and something to draw with, easels are available on a first come first serve basis!
You can purchase sessions individually or as part of a package. A single session costs $30, but when you sign up for 4 or more, you’ll receive a $20 discount.
Figure & Form: Open Sketch with Live Model
Come play music, recite poetry, tell a story, or show off another talent!
Keep in mind this is an all ages event in a public venue. We trust you to make good choices about appropriate material.
This is an LGBTQIA+ inclusive and welcoming event series. No cover fee but minimum one drink purchased required (show Molten some love, y’all!)
Performance slots are assigned on a first come, first served basis IN PERSON. No times will be held or assigned before the event starts. Get there early to grab your spot!
Open Mic Night – Hosted by Bethel CT Pride & Molten Java
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
The GR Art Gallery presents:
Ellen Gordon
“A Creative Journey II”
April 4th, 2025 – May 30th, 2025
Opening Reception: Saturday, April 5th from 4 PM – 7 PM
“A Creative Journey II”” is Ellen Gordon’s first solo exhibit at the GR Art Gallery. This exhibition is a retrospective of paintings and drawings by the artist created since 2009. In 2009 Ms. Gordon had her first solo exhibition entitled “A Creative Journey” at the Stamford Mayor’s Gallery. The exhibit will be on display from April 4th thru May 30th. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497.
The GR Art Gallery will host a reception to celebrate the artist on Saturday April 5th from 4 – 7 PM. The public is invited.
Ellen Gordon is a Stamford, CT-based award-winning mixed media artist. The colors and patterns in her artwork are roller coaster rhythms of fences, grids, and fractured geometries – a kind of mapping. She guides us along a journey of the personal narrative through landscaped layers of abstraction and portraiture. Playful and speculative, the rhythms remain determinedly open-ended and essentially borderless. An un-plotted story with unbounded possibilities. Over the past two decades, Gordon’s work has evolved through many phases, but her main body of work centers on figurative collages - intimate yet colorful portrayals of a woman in her own thoughts, providing the viewer a window into honest moments with a series of striking and bold women. Her most recent work has been a transition into the abstract patterns, experimenting with geometric shapes and inverted forms in color palettes evoking various states of mind.
Ms. Gordon has been active in the local arts for many years. She currently serves on the board of The Greenwich Art Society and The Connecticut Women Artists. Ms. Gordon is a commissioner of The City of Stamford’s Cultural Arts and Culture Board. She is the former Executive Director of the Loft Artists Association and was Co President of the Stamford Art Association.
In 2022, Ms. Gordon became the curator of the Mayor's Art Gallery in Stamford, CT.
The GR Art Gallery is located at 1086 Long Ridge Road, Stamford, CT 06903. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497. Parking is available and the building is handicap accessible.
"A Creative Journey II", Ellen Gordon at the GR Art Gallery
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
Join us Saturdays at 10 am on the terrace next to our Design Barn for inspiring speakers and answers to your pressing gardening questions! Make a morning of it by grabbing coffee at our coffee bar, strolling our park-like grounds, checking out our curated selection of vendors and connecting with our gardening community!
Oliver Nurseries Plein Air Speaker Series
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
For ten years, One Hot Night has been the Northeast’s premier Neil Diamond tribute. Featuring the spot-on vocals and engaging personality of Tommy Lynn as Neil, this 10-piece show band delivers the ultimate Neil Diamond experience.
Basing their show on Neil’s Hot August Night live albums, One Hot Night’s show is a guided tour through the career of one of America’s greatest entertainers. And the band, all veteran New York area players, reproduces the material with style and swagger. Spanning Neil’s long and storied career, they bring the Hot August Night albums to life once again. From the early hits like “Solitary Man” and “Kentucky Woman” to his mega-hits “America” and “Love on the Rocks” (and “Sweet Caroline” of course!), One Hot Night delivers them all! And through it all, Tommy Lynn gives a performance that is faithful to Neil’s live shows. He brings the audience in and makes them part of the show, creating an unforgettable live experience. If you’re a Neil Diamond fan (and who isn’t?), Tommy Lynn and One Hot Night belong on your “Don’t miss” list!
A Tribute to Neil Diamond: One Hot Night
For ten years, One Hot Night has been the Northeast’s premier Neil Diamond tribute. Featuring the spot-on vocals and engaging personality of Tommy Lynn as Neil, this 10-piece show band delivers the ultimate Neil Diamond experience.
Basing their show on Neil’s Hot August Night live albums, One Hot Night’s show is a guided tour through the career of one of America’s greatest entertainers. And the band, all veteran New York area players, reproduces the material with style and swagger. Spanning Neil’s long and storied career, they bring the Hot August Night albums to life once again. From the early hits like “Solitary Man” and “Kentucky Woman” to his mega-hits “America” and “Love on the Rocks” (and “Sweet Caroline” of course!), One Hot Night delivers them all! And through it all, Tommy Lynn gives a performance that is faithful to Neil’s live shows. He brings the audience in and makes them part of the show, creating an unforgettable live experience. If you’re a Neil Diamond fan (and who isn’t?), Tommy Lynn and One Hot Night belong on your “Don’t miss” list!
A Tribute to Neil Diamond: One Hot Night
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
Join us for a knit and crochet get together. Work on your own project or help us make items for local charities. If you know how to knit and/or crochet but are stuck on a project or technique, or if you are just looking for someone to craft with, this is the group for you. This program is for adults.
Check out other library programs!
Knitting & Crocheting
Our eight-week session of SPRING 2025 DRAMA ARTS CLASSES for kids, teens and adults is now available on our website! Classes begin April 19, 2025, and take place after school, evenings and weekends at The Sterling Farms Theatre Complex, 1349 Newfield Avenue in Stamford, Connecticut: a professional facility with two theatre spaces and three studio classrooms. Our faculty consists of local, professional artists and arts educators dedicated to creative enrichment in the community. Classes are offered in acting, improv, sketch comedy, musical theatre, dance, on-camera, AND MORE!
ALL SKILL LEVELS WELCOME! (From the novice beginner to the seasoned veteran.)
Discounts for siblings/spouses registering together!
Payment plans available!
Scholarships for those who qualify!
Visit www.curtaincallinc.com
or contact our Education Director Brian Bianco at brian@curtaincallinc.com or
203-329-8207 x700.
ACT NOW TO ACT OUT!
Curtain Call, Inc. is Stamford, Connecticut's longest-running and only nonprofit, theatre-producing company, offering year-round, live, theatrical productions, concert events, and educational workshops. Voted Best Local Theatre Group 10 years in a row by Fairfield County Weekly's Annual Reader's Poll, and Best Performing Arts Group 12 years in a row by StamfordPlus Magazine. Recipient of the 2011 2011 Governor’s Award for Excellence in Culture and Tourism and the 2016 ACE Award for Excellence in the Arts.
Curtain Call's Spring 2025 Theatre Arts Classes for Kids, Teens, and Adults
Kids in 3rd through 5th grade can come and play games, bring your friends and make new ones too!
Check out other library programs!
Kid Gaming
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
The GR Art Gallery presents:
Ellen Gordon
“A Creative Journey II”
April 4th, 2025 – May 30th, 2025
Opening Reception: Saturday, April 5th from 4 PM – 7 PM
“A Creative Journey II”” is Ellen Gordon’s first solo exhibit at the GR Art Gallery. This exhibition is a retrospective of paintings and drawings by the artist created since 2009. In 2009 Ms. Gordon had her first solo exhibition entitled “A Creative Journey” at the Stamford Mayor’s Gallery. The exhibit will be on display from April 4th thru May 30th. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497.
The GR Art Gallery will host a reception to celebrate the artist on Saturday April 5th from 4 – 7 PM. The public is invited.
Ellen Gordon is a Stamford, CT-based award-winning mixed media artist. The colors and patterns in her artwork are roller coaster rhythms of fences, grids, and fractured geometries – a kind of mapping. She guides us along a journey of the personal narrative through landscaped layers of abstraction and portraiture. Playful and speculative, the rhythms remain determinedly open-ended and essentially borderless. An un-plotted story with unbounded possibilities. Over the past two decades, Gordon’s work has evolved through many phases, but her main body of work centers on figurative collages - intimate yet colorful portrayals of a woman in her own thoughts, providing the viewer a window into honest moments with a series of striking and bold women. Her most recent work has been a transition into the abstract patterns, experimenting with geometric shapes and inverted forms in color palettes evoking various states of mind.
Ms. Gordon has been active in the local arts for many years. She currently serves on the board of The Greenwich Art Society and The Connecticut Women Artists. Ms. Gordon is a commissioner of The City of Stamford’s Cultural Arts and Culture Board. She is the former Executive Director of the Loft Artists Association and was Co President of the Stamford Art Association.
In 2022, Ms. Gordon became the curator of the Mayor's Art Gallery in Stamford, CT.
The GR Art Gallery is located at 1086 Long Ridge Road, Stamford, CT 06903. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497. Parking is available and the building is handicap accessible.
"A Creative Journey II", Ellen Gordon at the GR Art Gallery
If you are struggling with stress, an over-active mind and want to find a new perspective on how mindfulness and meditation can help in navigating the challenges of your everyday life, then join Prabha Makayee as she guides you through the steps of meditation. See what you can accomplish by taking responsibility over what kinds of thoughts you think. With just one second, one breath and one thought of changing your perspective you can realign your well-being to a more peaceful, happy mindset.
Check out other library programs!
Mindfulness Meditation For Adults
Our eight-week session of SPRING 2025 DRAMA ARTS CLASSES for kids, teens and adults is now available on our website! Classes begin April 19, 2025, and take place after school, evenings and weekends at The Sterling Farms Theatre Complex, 1349 Newfield Avenue in Stamford, Connecticut: a professional facility with two theatre spaces and three studio classrooms. Our faculty consists of local, professional artists and arts educators dedicated to creative enrichment in the community. Classes are offered in acting, improv, sketch comedy, musical theatre, dance, on-camera, AND MORE!
ALL SKILL LEVELS WELCOME! (From the novice beginner to the seasoned veteran.)
Discounts for siblings/spouses registering together!
Payment plans available!
Scholarships for those who qualify!
Visit www.curtaincallinc.com
or contact our Education Director Brian Bianco at brian@curtaincallinc.com or
203-329-8207 x700.
ACT NOW TO ACT OUT!
Curtain Call, Inc. is Stamford, Connecticut's longest-running and only nonprofit, theatre-producing company, offering year-round, live, theatrical productions, concert events, and educational workshops. Voted Best Local Theatre Group 10 years in a row by Fairfield County Weekly's Annual Reader's Poll, and Best Performing Arts Group 12 years in a row by StamfordPlus Magazine. Recipient of the 2011 2011 Governor’s Award for Excellence in Culture and Tourism and the 2016 ACE Award for Excellence in the Arts.
Curtain Call's Spring 2025 Theatre Arts Classes for Kids, Teens, and Adults
Whether you're a seasoned grandmaster or a beginner eager to learn, this event offers an opportunity to test your strategic prowess. Engage in friendly matches, improve your chess skills, and enjoy intellectual challenges in a welcoming and inclusive environment!
Check out other library events!
Chess - All Ages
Join us for a fun and relaxed evening in the textile studio! Whether you want to mend a favorite piece of clothing, stitch some custom embroidery on an everyday purse, knit, crochet, or start a simple project with friends, instructor Chelsea Danburg will guide you through the process. Bring your works-in-progress or project ideas and we'll take care of the rest! Sessions are 2 1/2 hours long and open to all skill levels (ages 18+).
Designed to be a social evening, this is the perfect opportunity to gather a group of friends, learn something new, create fun projects, and connect. Unleash your creative side! Students are welcome to bring snacks to enjoy & share with the group.
Fiber & Friends
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
The Greenwich Art Society is offering:
INTERMEDIATE and ADVANCED ACRYLIC LANDSCAPE PAINTING
11 THURSDAYS
April 10 – June 19
10:00 am to 12:00 pm
Program Description
Students will take their own photos as a point of inspiration to create their own interpretation rather than a copy. From their photos, students will produce a value sketch to learn how to SEE the values. The value sketch will be the guide for the painting. They will also learn how to set up a palette for landscape painting. Students will learn to see and express color, values and the illusion of depth. Classes will include lectures, demonstrations, as well as individual instruction. If you are new to the class, please bring a drawing or painting as a sample of your skill level to the first class.
Max. 8 students.
Joseph Fama studied at the School of Visual Arts and the Reilly League of Artists. Cesare Borgia was his teacher. Fama earned a bachelor’s degree from Iona College. He’s a member of the American Artist Professional League, Oil Painters of America and American Impressionist Society, Inc. His work has been exhibited throughout the U.S. and has won numerous awards.
Fama has served as an Art Director for several advertising agencies in New York City and worked with clients and copywriters in developing concepts and visual images for ads and T.V. commercials.
The Greenwich Art Society is offering INTERMEDIATE and ADVANCED ACRYLIC LANDSCAPE PAINTING
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
The GR Art Gallery presents:
Ellen Gordon
“A Creative Journey II”
April 4th, 2025 – May 30th, 2025
Opening Reception: Saturday, April 5th from 4 PM – 7 PM
“A Creative Journey II”” is Ellen Gordon’s first solo exhibit at the GR Art Gallery. This exhibition is a retrospective of paintings and drawings by the artist created since 2009. In 2009 Ms. Gordon had her first solo exhibition entitled “A Creative Journey” at the Stamford Mayor’s Gallery. The exhibit will be on display from April 4th thru May 30th. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497.
The GR Art Gallery will host a reception to celebrate the artist on Saturday April 5th from 4 – 7 PM. The public is invited.
Ellen Gordon is a Stamford, CT-based award-winning mixed media artist. The colors and patterns in her artwork are roller coaster rhythms of fences, grids, and fractured geometries – a kind of mapping. She guides us along a journey of the personal narrative through landscaped layers of abstraction and portraiture. Playful and speculative, the rhythms remain determinedly open-ended and essentially borderless. An un-plotted story with unbounded possibilities. Over the past two decades, Gordon’s work has evolved through many phases, but her main body of work centers on figurative collages - intimate yet colorful portrayals of a woman in her own thoughts, providing the viewer a window into honest moments with a series of striking and bold women. Her most recent work has been a transition into the abstract patterns, experimenting with geometric shapes and inverted forms in color palettes evoking various states of mind.
Ms. Gordon has been active in the local arts for many years. She currently serves on the board of The Greenwich Art Society and The Connecticut Women Artists. Ms. Gordon is a commissioner of The City of Stamford’s Cultural Arts and Culture Board. She is the former Executive Director of the Loft Artists Association and was Co President of the Stamford Art Association.
In 2022, Ms. Gordon became the curator of the Mayor's Art Gallery in Stamford, CT.
The GR Art Gallery is located at 1086 Long Ridge Road, Stamford, CT 06903. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497. Parking is available and the building is handicap accessible.
"A Creative Journey II", Ellen Gordon at the GR Art Gallery
From left to right, top to bottom. Frederic Edwin Church, Our Banner in the Sky, c. 1861. Oil on canvas. Fine Art Museums of San Francisco. Banks Violette, Not Yet Titled (Flag Edition), 2010.Marines of the 28th Regiment of the Fifth Division planted an American flag atop Mount Suribachi, Iwo Jima, on Feb. 23, 1945. Joe Rosenthal/Associated Press. Barbara Kruger, Untitled, 1991. Photographic silkscreen/vinyl. Courtesy Mary Boone Gallery.
“O Say Can You See”: Artists Reimagine the Flag, a gallery talk with Dr. Robin Jaffee Frank on May 29, 2025 from 6-7pm.
Free for MoCA Members; $10 General Admisison
In conjunction with Banks Violette’s fraught representations of the American flag in MoCA CT’s solo exhibition, join Dr. Robin Jaffee Frank for a historical investigation of Old Glory as an iconic and ubiquitous symbol in American art and culture. Join Dr. Robin Jaffee Frank for a historical investigation of Old Glory as an iconic and ubiquitous symbol in American art and culture. Artists have incorporated its graphic stars and stripes into their work to achieve aesthetic ends, critique social and political inequalities, celebrate freedom and democracy, support an d mourn our troops, and express despair and hope. For many American citizens, as well as people around the world, our flag is a uniquely powerful and complex symbol of nationhood.
An independent curator, Robin Jaffee Frank has organized numerous exhibitions at museums throughout the US, lectured extensively, and published widely on American visual culture from the colonial through contemporary periods. She formerly served as Chief Curator and Curator of American Art at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, and Senior Associate Curator of American Paintings and Sculpture at the Yale University Art Gallery in New Haven, Connecticut. Robin holds a PhD in the history of art from Yale University.
Gallery Talk: “O Say Can You See”: Artists Reimagine the Flag
Practice drawing the human figure at our Open Figure Drawing Sessions! Every week, a live model is available for you to sketch freely at our studio. Sessions are 3 hours and open to all skill levels, 18 and over. Bring a drawing pad and something to draw with, easels are available on a first come first serve basis!
You can purchase sessions individually or as part of a package. A single session costs $30, but when you sign up for 4 or more, you’ll receive a $20 discount.
Figure & Form: Open Sketch with Live Model
Come play music, recite poetry, tell a story, or show off another talent!
Keep in mind this is an all ages event in a public venue. We trust you to make good choices about appropriate material.
This is an LGBTQIA+ inclusive and welcoming event series. No cover fee but minimum one drink purchased required (show Molten some love, y’all!)
Performance slots are assigned on a first come, first served basis IN PERSON. No times will be held or assigned before the event starts. Get there early to grab your spot!
Open Mic Night – Hosted by Bethel CT Pride & Molten Java
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
An extraordinary exhibition featuring stunning photographic images of birds, mammals and sea life engaging in their natural habitats. Vivid color, amazing action moments and the sheer beauty of the natural world are all masterfully captured by this talented, award-winning filmmaker, expeditionist and dedicated environmentalist.
FLYWAY OF LIFE, Wildlife Photography by Tomas Koeck
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
Isamu Noguchi: Metal the Mirror
For the final exhibition of its 2024-25 season, the Flinn Gallery is pleased to present Elemental: Work by Boston Sculptors Gallery Artists. The show runs from May 8 to June 18 and features the work of 13 artists from the Boston Sculptors Gallery. The sculptors in the exhibition work with a wide range of materials – clay, fabric, metal, plastic, wood, and mixed media – and their artwork ranges in height from three inches to over eight feet.
While the sculptures encompass a wide range of materials, sizes, and techniques, they were selected with a unifying theme in mind – Elemental. This word has multiple meanings, which range from primitive or basic to the four elements of nature to the chemical elements from which many of the objects are created. Visitors to the Gallery will see artwork that can be grouped into four elemental categories: Beginnings, Organisms, Earth, and Water.
The artists are all inspired by the beauty and fragility of the natural world along with our connections to and impact upon it. For Mo Kelman,“water is the ideal subject to reflect on the laws that govern nature as it ceaselessly advances and embarrasses our every effort to keep it at bay.” In Lagoon, Kelman merges an abstracted body of silk water with bamboo structures that ensemble towers or bridges. Artist Jessica Strauss has three pieces in the exhibition from her Packing for Mars series. In Missing You, Blue Planet, and No More Polar Ice Cap, human figures gaze at images of Earth. The sculptures express “black humor, longing, and regret” as Strauss looks toward a “future when humans must flee a devastated Earth to settle on far flung and arid worlds.”
Several artists use traditional domestic crafts such as crochet, embroidery, and sewing in innovative ways. In her three sculptures Ascent, Larvae, and Nests, Michelle Lougee crochets post-consumer plastic bags into monumental sculptures, which “examine the relationships between humans, plastic, and nature amidst irreversible environmental changes”. Cascading from the ceiling, Keri Straka’s “Soft Cell Division” is composed of stuffed and sewn textiles. According to Straka, “the suspended sculpture is evocative of the ebb and flow of human life as mirrored in the blooming of a single cell.” Her sculpture, “Portal: Past” is made of multiple wooden embroidery hoops of varying sizes with water-color painted fabric embedded with a wide range of materials to represent dividing cells and biological cycles.
Since the majority of sculptors are women, it is only natural that some artwork addresses feminine sensibilities, and as mentioned, domestic life. Ellen Schön has four ceramic pieces in the exhibition. Two of her pieces – Five Hills Font and Lotus Pod – are part of her Wellspring Series. For Schön, “the pieces in this series explore the ceramic vessel as a wellspring or womb. They are meant to evoke sources of life-whirlpools, fonts, pods, seed of hope, as well as the landscape of the female body.” Several of Jodie Colella’s sculptures are ceramic and one incorporates fabric. According to Colella, her three pieces – Offspring, Seeds, and Attempts at Conviviality Exhaust Me – “comingle rigid forms with fibers to create vessels containing the stories that embody domestic life.”
Elemental is curated by Flinn Gallery committee members, Barbra Fordyce and Nancy Heller. It will include over 40 works of art by the following Boston Sculptors Gallery artists:
Jodie Colella (clay, fiber, stone, and mixed media), Carrie Crane (mixed media),
Anna Kristina Goransson (felt and wool), Mo Kelman (silk, wood, and mixed media), Michelle Lougee (crocheted plastic and wire), Ellen Schön (stoneware and fired-clay), Julia Shepley (mixed media), Keri Straka (fabric and mixed media), Jessica Strauss (mixed media), Margaret Swan (aluminum), Nora Valdez (limestone), Leslie Wilcox (steel screen and mixed media), and Andy Zimmerman (wood).
The Flinn Gallery is a non-profit organization sponsored by Friends of the Greenwich Library. The Gallery welcomes visitors daily Monday to Saturday, 10-5pm, Thursday until 8pm, and Sunday 1-5pm, and is located on the second floor of the Greenwich Library, 101 West Putnam Avenue, Greenwich, CT.
The Boston Sculptors Gallery (BSG) was founded in 1992 by 18 artists as a venue for contemporary sculpture. It is located in Boston’s SoWa arts district and has 38 member artists from Boston and New England. There is a natural kinship between the Flinn and Boston Sculptors Galleries. Both are nonprofit entities that are volunteer-run and operated with support from a part-time staff member.
Events:
Opening Reception: Thursday, May 8 from 6-8pm
Artist Talk: Saturday, June 7 from 2-3pm.
Elemental: Work by Boston Sculptors Gallery Artists
Heather Gaudio Fine Art is pleased to present Martin Kline: The World In All Its Plenitude, the artist’s fifth solo exhibition at the gallery. The public is invited to attend an opening reception on Saturday, May 3, 4-6pm, and the exhibition will remain on view through June 14th. A fully illustrated catalogue with an essay written by art critic and poet Carter Ratcliff accompanies the exhibition.
“…ever since he made his first mature work, Kline has felt free to make paintings that are not flat and sculptures that are powerfully pictorial. He is not just inventive. He is reliably – startlingly – original.” [1]
The show brings together thirty-nine works executed between 1997 and 2025, surveying Kline’s long-standing engagement with encaustic. Kline’s output has consistently been one of working in series, creating several paintings, drawings and sculpture surrounding a theme or idea. At times he has revisited these themes to expand his material investigations, technical mastery and visual explorations. The distinguishing motif in the paintings and sculptures presented in this show, regardless of the year or series they belong to, is that they all share in the color blue. Arguably one of the favorite colors on the spectrum, blue has for millennia captivated the human eye and carried a special allure for its symbolic and emotive qualities. From ancient China and Egypt to the Celtic times, from the Middle Ages to the Renaissance and Baroque periods, from the Industrial Revolution and the nineteenth century to the modern and contemporary era, blue has fascinated artists, musicians and writers. Sourced from cobalt, lapis lazuli, indigo, ultramarine and other materials, blue can transform into varying hues: cyan, navy, turquoise, aqua, midnight blue, sky blue, royal blue and aquamarine.
Kline’s nimble use of the color takes its hue and shade ranges in different directions, accentuating its characteristics and evocative nature with his adroit use of encaustic. Whether applied in flat bold brushstrokes, dripped or layered to create textured surfaces, Kline modulates the color and manipulates the material to create a vast range of visual experiences. Some grided paintings are structures that take on a retro feel with lighter and darker tones and hues, such as Blue Order and Blue and White Impression. The brushstrokes create a patchwork of tetris-like tiles seeming to compete for space. A mixture of values and tones in other panels such as Blue Grid are not as delineated and appear to meld into one another. These networks are transformed into more complex systems in Blue Mosaico (Tondo) and in the camo-bot series such as Patchwork Blue and Camo Bluebot.
Razzle Dazzle may be visually related to the latter two but is also part of another seminal body of work by the artist, the Hammock paintings. In this large panel, Kline’s line of enquiry comes from a narrative referenced in Leo Steinberg’s essay “Other Criteria.” In it, he touches on the 19th century artist Thomas Eakins’ addressing the question whether painting and sculpture should have the same moral standing as traditionally defined manual labor, and not just be considered an activity of leisure or pleasure. Kline’s Hammock paintings are created on actual canvas service hammocks, some dating back to WWII, that the artist has collected over the years. Razzle Dazzle, with its honey-combed surface and blue color patterns, camouflages the hammock on the panel, keeping the object used for work and /or leisure not readily apparent.
Audiences familiar with Kline’s artistic trajectory will enjoy viewing the deep, midnight blue, almost black The Prussian Blues (II), an encaustic on linen that would be a precursor to an important series in Kline’s oeuvre, the white linen, or Tabula Rasa, paintings. Other works on view include the artist’s signature additive layered Bloom, Jewel, and Leda paintings, with their surfaces so textured they become quasi sculptural, where shadow plays an important part in the visual engagement. When does a textured painting become a sculpture? The coup de grâce that drives this concept home is Diagonal Blue Growth on Canvas, a painting the artist cast into a unique bronze and finished with a rich blue patina to make it look like a painting.
About Martin Kline
Kline has had a prolific career as a painter, sculptor and draughtsman and his works have been the subject of numerous solo and group exhibitions in the United States and abroad. His works are in many notable public and private collections, including The Metropolitan Museum, the Whitney Museum of American Art; the Brooklyn Museum and the Morgan Library in New York City; the Albright-Knox Art Gallery, Buffalo; The Baltimore Museum of Art, Baltimore; the Fogg Museum, Harvard University, Cambridge; The High Museum of Art, Atlanta; the Albertina, Vienna; The Museum of Fine Art, Houston; the Museum of Fine Arts, Boston; the Cleveland Museum of Art, Cleveland; the Kemper Museum of Contemporary Art, Ohio University, Athens; the New Britain Museum of American Art, New Britain; Triton Foundation, Belgium; Princeton University Art Museum, Princeton; Yale University Art Gallery, New Haven, and the Wadsworth Atheneum Museum of Art, Hartford, among others. Kline lives and works in upstate New York.
About Carter Ratcliff
American critic and poet Carter Ratcliff has published writings on art for The Museum of Modern Art, New York; The Guggenheim Museum; the Royal Academy of Arts, London; Maxxi Museum of 21st Century Arts, Rome and many other institutions. He has contributed to notable art publications such as Art in America, Art Forum, Art News, Arts, Tate, and Art Presse, as well Vogue, Elle, and New York Magazine. Books include The Fate of a Gesture: Jackson Pollock and Postwar American Art, Out of the Box: The Reinvention of Art, and monographs on Andy Warhol, John Singer Sargent, Georgia O’Keeffe, Gilbert & George among others. His books of poetry include Fever Coast, Give Me Tomorrow and Arrivederci, Modernismo. Born in Seattle, Ratcliff lives and works in upstate New York.
Heather Gaudio Fine Art specializes in emerging and established artists, offering painting, works on paper, photography, and sculpture. The gallery provides a full-range of art advisory services, from forming and maintaining a collection, to securing secondary market material, to assisting with framing and installation. The focus is on each individual client, selecting art that best serves his or her vision, space, and resources. The six exhibitions offered every year are designed to present important talent and provide artwork appealing to a broad range of interests. Gallery hours are Tuesday through Saturday; 10:30am to 5:30pm; and by appointment.
[1] Carter Ratcliff, “Martin Kline: The World in All Its Plenitude”, 2025, Martin Kline, exhibition catalogue
"Martin Kline: The World In All Its Plenitude"
The GR Art Gallery presents:
Ellen Gordon
“A Creative Journey II”
April 4th, 2025 – May 30th, 2025
Opening Reception: Saturday, April 5th from 4 PM – 7 PM
“A Creative Journey II”” is Ellen Gordon’s first solo exhibit at the GR Art Gallery. This exhibition is a retrospective of paintings and drawings by the artist created since 2009. In 2009 Ms. Gordon had her first solo exhibition entitled “A Creative Journey” at the Stamford Mayor’s Gallery. The exhibit will be on display from April 4th thru May 30th. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497.
The GR Art Gallery will host a reception to celebrate the artist on Saturday April 5th from 4 – 7 PM. The public is invited.
Ellen Gordon is a Stamford, CT-based award-winning mixed media artist. The colors and patterns in her artwork are roller coaster rhythms of fences, grids, and fractured geometries – a kind of mapping. She guides us along a journey of the personal narrative through landscaped layers of abstraction and portraiture. Playful and speculative, the rhythms remain determinedly open-ended and essentially borderless. An un-plotted story with unbounded possibilities. Over the past two decades, Gordon’s work has evolved through many phases, but her main body of work centers on figurative collages - intimate yet colorful portrayals of a woman in her own thoughts, providing the viewer a window into honest moments with a series of striking and bold women. Her most recent work has been a transition into the abstract patterns, experimenting with geometric shapes and inverted forms in color palettes evoking various states of mind.
Ms. Gordon has been active in the local arts for many years. She currently serves on the board of The Greenwich Art Society and The Connecticut Women Artists. Ms. Gordon is a commissioner of The City of Stamford’s Cultural Arts and Culture Board. She is the former Executive Director of the Loft Artists Association and was Co President of the Stamford Art Association.
In 2022, Ms. Gordon became the curator of the Mayor's Art Gallery in Stamford, CT.
The GR Art Gallery is located at 1086 Long Ridge Road, Stamford, CT 06903. Gallery hours are Wednesday - Saturday from 12-6 pm and from Sunday 12-4. Any time by appointment, 203-274-7497. Parking is available and the building is handicap accessible.
"A Creative Journey II", Ellen Gordon at the GR Art Gallery
March 29 through June 1
Reception: Thursday, April 10, 6-8 pm, in the Trefz Forum; click here for more information. (Reception kicks off at 6 pm, followed by a conversation between 5iveFingaz and Miggs Burroughs at 7 pm.) Click here for more on VersoFest 2025!
In the Sheffer Gallery: Visual Verses
Visual Verses is an immersive art exhibit that merges the expressive power of visual art with the profound impact of language. Each painting in this collection is paired with original phrases crafted to evoke thought, emotion, and reflection. The artwork transcends traditional boundaries, using bold colors and dynamic compositions to amplify the messages embedded within the text. This fusion of imagery and words invites viewers to engage not only with the aesthetics but also with the deeper narratives and meanings behind each piece.
At its core, Visual Verses carries a strong social conscience, addressing themes of justice, equality, and human connection. The text-based elements of the exhibit deliver positive messages meant to inspire, uplift, and provoke meaningful conversations. Through this harmonious blend of art and language, the exhibit aims to spark awareness and foster a sense of community, encouraging viewers to reflect on their role in shaping a more compassionate and just world.
In the South Gallery: Interactive Community Participation Mural
This Interactive Community Participation Mural will be designed by 5ive, with members of the community to help fill it in on Saturday, April 5, from 10 am to 2 pm during the VersoFest 2025 Weekend Kickoff Celebration hosted by 5ive (also featuring DJs and other fun fare for the whole family!) This exhibit will invite the viewer to participate in the making of the artwork, interacting with the canvas and materials so that both tactile processes and community contribution are as much a part of the piece as the art itself.
In the Jesup Gallery: Graffiti Art Mural
More information regarding scheduled mural participation times and 5ive’s Jesup Gallery exhibit is forthcoming. Stay tuned and join in on the fun at VersoFest 2025!
In addition to his art exhibits, 5iveFingaz will also be leading two back-to-back sessions of his Verso University course Graffiti 101: Finding Your Voice as a Graffiti Artist on Saturday, April 5.
About 5iveFingaz
5iveFingaz is a visionary artist whose work seamlessly bridges the realms of street art, contemporary expression, and social consciousness. Renowned for his distinctive fusion of bold visuals and thought-provoking text, 5iveFingaz crafts pieces that resonate deeply with audiences, challenging them to reflect on both personal experiences and broader societal issues. His signature style often features vibrant colors juxtaposed with powerful, concise phrases that speak directly to the heart of human experience, exploring themes of love, resilience, unity, and justice. Emerging from a background rich in urban culture and creative exploration, 5iveFingaz honed his artistic voice through a unique blend of trained and self-taught techniques and active community engagement. His art transcends traditional canvases, finding life on walls, public spaces, and unconventional surfaces, transforming everyday environments into platforms for inspiration and dialogue. The artist’s work has garnered global attention not only for its striking aesthetic appeal but also for its profound ability to connect with diverse audiences on an intimate level.
At the core of his practice lies the "Love More Than Ever" movement, a heartfelt initiative that underscores the importance of uplifting one another with kindness and understanding. 5iveFingaz’s unwavering commitment to positive messaging and social awareness drives his creative process, with each piece serving as a rallying cry for change. His work urges viewers to reflect on their roles in fostering a more compassionate and equitable world. Through exhibitions, collaborations, and public art projects, he amplifies voices that are often unheard, using art as a powerful tool for empowerment and community building. As his influence continues to grow, 5iveFingaz remains steadfast in his mission to spark meaningful conversations and inspire action, solidifying his place as a transformative figure in the contemporary art scene.
5iveFingaz Art Exhibits at VersoFest 2025
The Glass House, a site of the National Trust for Historic Preservation, is pleased to present Barbara Kasten: Structure, Light, Land. For five decades, Chicago-based artist Barbara Kasten has created photographs and sculptural installations that reorient our sense of perception and explore the dynamic relationship between space, material, and form. Her artistic influences are deeply rooted in modernist architecture, the principles of Constructivism, and the interdisciplinary legacy of the Bauhaus, particularly the photograms of László Moholy-Nagy and Lucia Moholy.
“Placing my work in and around The Glass House campus is an opportunity for me to take on a canonical modernist site. Each of the structures on the grounds is like a monument to one of many aesthetic phases of architectural history. Abstraction allows us to consider possibilities that are not the norm,” said Barbara Kasten.
Structure, Light, Land features Kasten’s work from multiple series, including Architectural Sites, Collisions, and Progressions, as well as new iterations of digital projections, cyanotypes, and sculptures. With a striking interplay of light, color, and form, Kasten’s work infiltrates the grounds of The Glass House and responds to the site’s varied built environment and landscape.
In the Brick House (1949), Kasten’s brilliantly hued Architectural Site 1, June 10, 1986–featuring the Philip Johnson-designed Lipstick Building (1986) in Manhattan–resonates with the ’80s postmodern interior of the Reading Room, which includes two 1986 Feltri Chairs designed by Gaetano Pesce. Five new cyanotypes by Kasten line the building’s serene 1949 hallway, illuminated by the circular skylights above.
Kasten’s new installation of fluorescent acrylic I-beams, modeled after the structural components of the Glass House, will be interspersed throughout the Sculpture Gallery (1970). The seven-foot-long beams respond to the site’s permanent collection of works by Frank Stella, John Chamberlain, Robert Morris, George Segal, and Michael Heizer. The intervention brings attention to the structure’s exposed I-beam twenty feet overhead and responds to the gallery’s interior patterning of ever-changing natural light and winding staircases.
The Painting Gallery (1965) features three works: a photograph from the Collision series and two sculptural Progressions. Situated near Stella’s shaped canvases, Kasten’s fluorescent forms extend the narrative around post-painterly abstraction across mediums and into the present moment.
Da Monsta (1995), the last building Johnson designed at The Glass House, was named following a conversation between Johnson and the critic Herbert Muschamp. It was inspired in part by German Expressionism, an unrealized museum design by Frank Stella, and the work of Frank Gehry. Kasten’s Sideways Corner (2016/2025), a video projection of three-dimensional cubes in primary colors, activates the warped and torqued walls.
The exhibition is curated by Cole Akers, Curator at The Glass House.
Special thanks to Bortolami Gallery, New York.
Barbara Kasten: Structure, Light, Land
The 2025 Glass House tour season begins on April 17, 2025. Tickets are available now! All tours include access to the newly restored Brick House. Following an extensive restoration project , we are excited to share this essential design element of the site and its history with you!
The Glass House 2025 Tour season opens April 17th - December 15th
Our eight-week session of SPRING 2025 DRAMA ARTS CLASSES for kids, teens and adults is now available on our website! Classes begin April 19, 2025, and take place after school, evenings and weekends at The Sterling Farms Theatre Complex, 1349 Newfield Avenue in Stamford, Connecticut: a professional facility with two theatre spaces and three studio classrooms. Our faculty consists of local, professional artists and arts educators dedicated to creative enrichment in the community. Classes are offered in acting, improv, sketch comedy, musical theatre, dance, on-camera, AND MORE!
ALL SKILL LEVELS WELCOME! (From the novice beginner to the seasoned veteran.)
Discounts for siblings/spouses registering together!
Payment plans available!
Scholarships for those who qualify!
Visit www.curtaincallinc.com
or contact our Education Director Brian Bianco at brian@curtaincallinc.com or
203-329-8207 x700.
ACT NOW TO ACT OUT!
Curtain Call, Inc. is Stamford, Connecticut's longest-running and only nonprofit, theatre-producing company, offering year-round, live, theatrical productions, concert events, and educational workshops. Voted Best Local Theatre Group 10 years in a row by Fairfield County Weekly's Annual Reader's Poll, and Best Performing Arts Group 12 years in a row by StamfordPlus Magazine. Recipient of the 2011 2011 Governor’s Award for Excellence in Culture and Tourism and the 2016 ACE Award for Excellence in the Arts.
Curtain Call's Spring 2025 Theatre Arts Classes for Kids, Teens, and Adults
“Here is where finally opposites come together, I see a surprising purity. Stone is the depth, metal the mirror. They do not conflict…” —Isamu Noguchi
While the renowned sculptor Isamu Noguchi (1904–1988) is best known for his work in stone, he consistently explored new materials and methods during his wide-ranging career. He first experimented with aluminum in the 1950s and later with galvanized steel, creating a series of twenty-six sculptures in collaboration with Gemini G.E.L. in Los Angeles in 1982–83. In this body of work, each sheet of metal is cut with a plasma torch and then dipped into boiling zinc, resulting in sculptures that are subtly patterned and highly reflective, resembling pebbles in a stream or the epidermal layer of skin.
Writing about the unique materiality of his sculptures, Noguchi described metal as a mirror in opposition to “stone [as] depth.” His galvanized steel sculptures achieve formal unity while also exploring conceptual dualities between the traditional and modern, fine art and design, and industry and nature. As a Japanese American artist working in the United States, Noguchi negotiated his own feeling of in-betweenness throughout his oeuvre. The galvanized steel editions synthesize this dual aspect of his identity, utilizing steel—a distinctly American material—while also integrating the Japanese craft of origami through cut and folded metal shapes.
Featuring a selection of nine galvanized steel sculptures, the exhibition is organized into thematic groupings that underscore the paradoxes of the artist’s work in metal. In the first, Noguchi imparts inanimate forms with human qualities, complicating the relationship between flesh and steel, body and mirror. Man-made material is transformed into representations of mountains, fruit, and sky in the second grouping, reflecting Noguchi’s belief that, in modernity, industry and nature are intertwined. A final trio of works reveals Noguchi’s ongoing interest in abstraction, bringing theoretical and spiritual ideas, weight and weightlessness, and past and present into visual dialogue. Through these sculptures, Noguchi explores ways of belonging in between such imagined oppositions. Indeed, the polished steel surfaces entangle objects, spaces, and people in a network of cast reflections, inviting visitors to contemplate Noguchi’s life, his practice, and themselves.
Isamu Noguchi: Metal the Mirror is curated by Julia Mun, Curatorial Associate, with support from Ashley Holland, Curator and Director of Curatorial Initiatives, and Javier Rivero Ramos, Assistant Curator. The presentation at the Bruce is organized by Margarita Karasoulas, Curator of Art.
Isamu Noguchi: Metal the Mirror is organized by Art Bridges.
