Events and Special Hours
10 – 5
Final day of
10 – 7
First day of
5 – 7
Artist's Reception for Diane Ayott
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Exceptions: see above
Trident Gallery is pleased to present a series of new paintings by Patti Sullivan, one of Gloucester’s great expressionist and colorist landscape artists. Sullivan’s series of paintings of cormorants along Gloucester’s Back Shore in 2013 represented a significant development in her work. Influenced by recent travel in Alaska, she endowed the familiar scene with a haunting remoteness. The paintings show a rugged, elemental landscape at the boundary of our world, where land meets sea and humans meet animals as foreigners.
During the past year, Sullivan has continued her exploration of this coastline with a series of paintings of a particular large rock not far offshore. Though continuity with the earlier series is evident, especially in the large painting Solstice (2013), and in the enchantment of Sullivan’s rich colors and varied surface textures, the differences are striking.
The powerful, eclipsed, and angular compositions of 2013 have given way to symmetries. Ruggedness has softened into simpler, more abstract forms. The cormorants have receded, and with them the sense of an alien world. Bold gestures in the paint which belonged to the rocks, sea, and sky in 2013 now seem to belong to the artist. Earth tones have become shining bright colors which recall Sullivan’s paintings of Cuba and the Dominican Republic, showing a human and social world of city architecture and people. The new series celebrates personal encounters with landscape and joy in nature’s many-splendored variation.
This exhibition will show the 2013 series together with the 2015 series, each vitalizing and contextualizing the other and suggesting new directions of visual discovery to the imaginative viewer.
Trident Gallery is pleased to present Lessons, Barns, and Other Structures, an exhibition of recent paintings on paper and canvas by Gloucester artist Ed Touchette.
Lessons, Barns, and Other Structures is an ongoing series of paintings, each one conceived as a lesson leading both the artist and the viewer toward simplified expression. Begun in 2011, when a few experimental paintings led the artist into a fruitful and sustained new direction, the series reveals and is an homage to influences from the artist’s earliest years as a student of art and architecture: a design professor from the Bauhaus; an abstract expressionist painting teacher; and an expressionist mentor who introduced him to the utter joy of working on paper.
Touchette’s paintings often draw inspiration from his literary and musical, as well as his visual interests and experiences, and among these he gives special emphasis to Italo Calvino's novel Invisible Cities. Touchette and Gallery Director Matthew Swift have woven passages from this text into the visitor’s experience of the exhibition at Trident Gallery, and a Trident Live Art Series performance on Saturday, October 10, at 7pm will explore Invisible Cities through performance.
An exploration of Italo Calvino's novel Invisible Cites through performance, involving spoken text, music, visual art, projected images, and dance, produced by artist Ed Touchette together with Gallery Director Matthew Swift and Trident Live Art Series Director Sarah Slifer Swift.
Please see the Live Art Series section for further information about attending performances.
Trident Gallery shows beautiful and intelligent contemporary art on historic Cape Ann, Massachusetts, emphasizing the work of artists continuing Gloucester’s rich legacy as a center for new American Art.
Every five weeks, Trident Gallery presents a new exhibition of contemporary art in a rich context of written commentary and public discussion. Special offerings and works by represented artists are always on display, and clients may explore extensive inventory at the gallery or privately, through both advanced technologies and print materials. Gallery Director Dr. Matthew Swift curates and produces gallery exhibitions, drawing on over twenty years of multi-disciplinary scholarship, teaching, and creative exploration.
The Trident Live Art Series presents performances by seasoned professionals showing experimental and collaborative work in the intimate salon setting of the gallery. Live Art Series Director Sarah Slifer Swift curates and produces the performances, drawing on over twenty years of experience in the United States and abroad as a dance artist, choreographer, and producer.
Compelling art, illuminating critical context, and dedicated professionalism distinguish Trident Gallery as a leader of the vital arts scene of Cape Ann and as a singular resource for collectors, corporate clients, and the public.
Trident Gallery is located in a purpose-built space within the elegant Gloucester Safe Deposit and Trust building of 1880 in the heart of historic downtown Gloucester and the Harbortown Cultural District. At the back of the spacious main gallery are a library and a small gallery within a former bank vault.
The rugged and beautiful region of Cape Ann has attracted great artists for more than a century and a half. Gloucester was called the art capital of the United States in 1925,† and although that heyday has passed, something about this island has continued to captivate generation after generation of painters, writers, musicians, sculptors, artisans, playwrights, and dancers. It may be the birds in the marsh or the distant surf in the granite teeth. It may be the people who welcome the eccentric and find strangers worth talking to. Or it may be an effect of the calm and furious sea. We don't know, but vital art springs repeatedly from this rocky coast.
Today, as in the past, a large community of artists thrives here, sustained and guided by a keen sense of place, by connections to each other, and by the long tradition of artistic excellence on Cape Ann.
Works of art with meaningful connections to Cape Ann take diverse forms. Some depict or transform scenes of the region; others are profoundly rooted in the artist's experiences of Cape Ann's towns, landscapes, and sea horizons, and its vibrant matrix of interwoven communities.
Biographical information, Director's introductions, and selections of available work by gallery artists will be on the Trident site soon. Meanwhile, for further information, please follow links to artists' web sites where available, and inquire at the gallery regarding available work.
|Diane Ayottpaintings, mixed media paintings||Zygmund Jankowski1925–2009paintings|
|Gabrielle Barzaghidrawings||Peter Lyonspaintings, photographs|
|Nadine Boughtonphotographs, collages||Ruth Mordecaipaintings, collages, monotypes|
|Winston Swift Boyerphotographs||Eileen Muellerpaintings|
|Charlie Carrolldrawings, watercolors, photographs||Joe Poirierpaintings|
|Susan Eronypaintings, mixed media paintings||Patti Sullivanpaintings|
|Dennis Flavinpaintings, drawings||Lynn Swigartphotographs|
|Pamela Ellis Hawkesphotographs, alternative process photographs||Ed Touchettepaintings, drawings|
|Albert Alcalay 1917–2008paintings, drawings, prints||Nell Blaine1922–1996paintings, drawings, prints|
|Roger Martin1925–2015paintings, collages, prints|
Trident Gallery is pleased to present Love in December, an exhibition of colorful, patterned, abstract mixed media paintings by Diane Ayott.
Wordsworth famously described poetry as “the spontaneous overflow of powerful feelings” resulting from emotions ”recollected in tranquility,” a process in which feelings are crucially modified and directed by thoughtful intentions, “organic sensibility,” and the discipline of craft — that is, a process of shaping and polishing, which Horace before him called limae labor et mora, the patient toil of the file.
The disciplined excellence of Diane Ayott’s art is thrillingly accessible on these terms. Her intuitive and personal journaling process both provides a suggestive title and at a deeper level embeds emotion into her art, which we experience with immediacy because the language of abstraction is free of alienating specificity: Promise, Proof Enough, Come Spring — the suggestive power of these titles extends undiminished, because unqualified, into our personal geometries.
At the art surface, Ayott’s devoted study of aesthetic history and principles, and her months and years of meditative studio practice, applying the many tools of her mark making — brushes, boxtops, and rollers, if not files — give an authority, a complexity, and a rationality to her constructions, which allow them to become containers of emotion, encodings of the fragile data of shared experience.
Ayott’s paintings are beautiful, universal, and still personal, sharing “passions,” as Wordsworth prescribed for poems, “with an overbalance of pleasure.”
Trident Gallery's summer group exhibition offers more than fifty paintings, drawings, photographs, and mixed media works in the genre of landscape—interpreted, here in Gloucester, to include vistas of the coast and sea.
Gallery Director Matthew Swift has chosen the art to represent a diversity of artistic approaches to landscape, from luminism to abstraction, in order to reveal something about the genre as practiced today, and to reveal through contrast the diversity of aesthetic dimensions beyond the real, in which artists create meaning and beauty beyond the satisfactions of representation.
Beyond Real includes major, large scale works by Peter Lyons, Susan Erony, Ed Touchette, Zygmund Jankowski, and Gabrielle Barzaghi. It is also the east coast debut of Winston Swift Boyer's Ocean Series of large scale photographs of sea horizons, works of art in dialogue with the paintings of past Gloucester summer visitor Mark Rothko. Exceptional older works by Albert Alcalay, Nell Blaine, and Roger Martin, and selected recent works by Eileen Mueller, Ruth Mordecai, Pamela Ellis Hawkes, Patti Sullivan, Lynn Swigart, Joe Poirier, Dennis Flavin, and Charlie Carroll complete the exhibition.
A full catalog with artists' statements and critical commentary is available online and in the gallery.
Like the paintings by Fitz Henry Lane and his contemporaries later called Luminists, Peter Lyons's paintings depict scenes whose otherworldly light evokes or precipitates a moment in which the mind comes into contact with truths beyond the senses.
The paintings of Peter Lyons look somehow familiar, but they are distinctive, different, memorable. They seem realistic, but they speak of memory and myth. They evoke dreams of different times and different places. One cannot recall seeing exactly such landscapes in nature, yet one easily recognizes each scene: they have both strength and credibility.
Lyons' work looks like photo-realism but it isn't. His compositions stem from his occasional sightings of certain objects in the landscape—a railroad car, a crossing signal, an oil tank—which cause him “a moment of revelation.” He sees something, an object, a detail, that brings to mind for him a complete finished painting. Then he goes through a laborious preparation of a gessoed panel…yet the finished painting conveys only a hallucinatory sense of mystery and suggests nothing of its laborious construction.
One of the oldest themes in American landscape painting is that of the “machine in the garden.”…Lyons' paintings speak to our continuing national ambivalence toward technological progress. In them the “machine”—in the form of nearly ubiquitous railroad tracks stretching horizontally across his composition or receding toward the horizon—looks as permanent as the sky itself. Nature and man—represented by his machines—seem at a standoff, neither willing to yield….
One feels in these paintings both despair and hope. In them, a limitless barren landscape, the stuff of dreams, populated only with threatening, man-made structures of great intrinsic beauty, may symbolize either the end of time or the beginning of a new day.
Trident Gallery is pleased to present American Home, an exhibition of collage and photography by Nadine Boughton.
For Nadine Boughton, the American home is a frontier. It is the site of a boundary between wildness and domesticity, between mental life and the perceptions of others, between manners and urges, between the worlds of men and women, between manipulation and authenticity, between order and chaos, between archetype and cliché, and between the banal and the heroic. The frontier zone of the American home is a psychically dangerous place, where polarities contest over personal identity.
For the last twelve years, Boughton has used a digital process to compose collages of mid-century vintage materials. By placing disparate imagery into creative juxtaposition, she fashions witty, provocative narratives that engage and reveal the popular cultures and the psychologies of both the mid-century and contemporary eras. Her collages sparkle with humor, surprise, and uncategorizable blends of fantasy and the familiar, and of darkness and fun.
Boughton uses popular print materials in a sociological mode to expose and question culture, to explore psychological themes, and to comment on accepted norms. Though she employs the methods and materials of Pop-Art, rather than the skilled hand of a painter or sculptor, her cowgirl art recovers territory seized and occupied by Andy Warhol, Roy Lichtenstein, and their ilk. In Boughton’s art, we find High Modern seriousness, sneaked in under the skirts of fashionable cynicism. Through her art, we can again experience the unabashed American sentiment of Andrew Wyeth and Norman Rockwell, and the earnest pathos of melodrama. Through her art, we find again the like of classical mythological paintings and sculpture: characters from a story we all know, given sensual and tender individuality through an artist’s extraordinary skill, wresting sacred and ephemeral personhood from the raw mute materials of stone and paint—or advertising and pulp. While other artists today are busy reenacting, reusing, and reanimating past vernaculars, pointing out again and again that our visual and intellectual worlds are chains of signifiers that sometimes seem never to end, Boughton resumes our contact with the souls at the end of those chains. Life is not a cartoon.
American Home includes 25 collages and a series of six photographs of the artist's parents’ retirement home in Florida.
Please contact the gallery for a PDF or printed catalog of American Home.
Trident Gallery is pleased to present When Objects Dream, an exhibition of fourteen new drawings by Gabrielle Barzaghi.
The drawings of When Objects Dream sharpen the political edge of Gabrielle Barzaghi’s body of work, without losing any of the characteristic power of her drawings to evoke transcendence through the idiosyncratic delicacy of their textures, colors, and gestures. They are virtuoso performances of contemporary drawing practice.
Barzaghi’s wide-ranging, mythic imagination has become more explicitly historical, and her new fictions barely contain their own political energy. Artifacts from the realms of play and art are freighted with human context and glow with the nearly magical aura of their material histories—these are the objects’ dreams. At the same time, narrative distance and nostalgic longing for the naïveté of objects, toys, and animals recontextualize and recolor perceptions of human actions, ambitions, comforts, and pain.
Fables have always been a serious form of art. Both intuitive and satirical, they contact both the timeless and the pragmatic and both the collective and the personal as they contrast the simple motivations attributed to others with the complex uncertainties of subjective experience.
Barzaghi’s visual fables render the tensions of these dualities beautifully.
Gabrielle Barzaghi grew up in Rhode Island and graduated from the School of the Museum of Fine Arts, Boston. After living and working in Boston’s artists’ lofts, she moved to Gloucester in the mid-1990s. She taught drawing at the New England School of Art and Design at Suffolk University for over thirty years and now works full time in her studio adjacent to Dogtown.
Barzaghi’s drawings combine imagination with close observation and often draw deeply on the artist’s personal history. Her work has been shown at the Museum of Fine Arts, Boston; the Currier Museum; the Fuller Museum; and it is in the permanent collections of the Cape Ann Museum and the deCordova Museum.
Trident Gallery is exhibiting at the 16th Annual Boston Print Fair at The Cyclorama, in booth 7S.
The Boston Print Fair is one part of AD20/21, the culminating event in the second annual Boston Design Week (March 19-29), a ten-day design festival offering more than 60 events citywide. Boston Design Week seeks to increase public awareness and appreciation of all aspects of design, foster recognition of the vital role design plays in our lives, and bring new audiences to a wide array of design industries and organizations.
The entrance fee is $15 per couple at the door, or you may pick up a complimentary pass at Trident Gallery.
At AD20/21, fifty select exhibitors offer modern to contemporary fine art, photography, jewelry, Mid-Century furnishings and contemporary studio furniture, decorative arts, sculpture, fine prints, drawings, and more. The Boston Print Fair section of the show offers an unparalleled opportunity for collectors to acquire affordable, original fine prints, drawings, photography, watercolors, and other works on paper from leading fine art galleries and contemporary print publishers.
The Cyclorama is an ideal venue for this exciting show. Built in 1884 to house an enormous panorama painting (a “cyclorama”) of the Battle of Gettysburg, the large circular rotunda and adjacent salons encourage visitors to wander throughout the show. The historic structure is the heart of the Boston Center for the Arts complex, which boasts four theatres, a gallery, the Boston Ballet School, fifty artist studios, and other facilities. Parking garages are nearby, and there are more than a dozen excellent restaurants and nightspots within a five-minute walk.
Trident Gallery is pleased to announce The Art of Natural History, an exhibition reprising last year's winter partnership with the Museum of American Bird Art at Mass Audubon in Canton, Massachusetts, the home of Mass Audubon's remarkable collection of art. Last year's evolving, trans-discipline Winter Meditations exhibition brought over thirty works of art from the Museum for display at Trident Gallery alongside selected works by gallery artists. Each work of art from the Museum's collection depicted a bird species that can be seen on Cape Ann in the winter, a principle of selection inspired by the annual Cape Ann Winter Birding Weekend in early February, a three-day festival sponsored by Mass Audubon in partnership with the Cape Ann Chamber of Commerce.
This year's exhibition will display eight exquisitely detailed watercolor paintings by Robert Verity Clem (1933–2010) from the Museum’s collection of over thirty. Six of Clem’s paintings were part of Winter Meditations, including two never before seen in public. Trident Gallery donated frames in order to display them. This year’s selection of eight includes the Northern Shrike shown last year and a new painting never seen before in public, a gouache of Sanderlings also painted in the late 1960s and sharing the minimalist aesthetic of Northern Shrike. Here is one heartfelt tribute to Clem which gives some idea of his reputation among natural history artists. Also on display from the Museum's collection will be four small sculptures by Larry Barth (b. 1957). Larry Barth is considered by many to be the preeminent contemporary bird sculptor. A brief bio is here.
The highlight of last year's loan was a group of six magnificent double elephant folio prints by John James Audubon, and about fifty guests attended ornithologist and Gloucester resident Chris Leahy's fascinating talk at the gallery on Audubon's life and art. He will be giving a longer version of this talk at the Sawyer Free Library near Trident Gallery on Tuesday, January 27th.
As the Cape Ann Winter Birding Weekend grows and, united with two events in Newburyport the weeks before and after, becomes as we hope a 16-day-long celebration of winter bird life on the North Shore, I look forward to making an annual winter tradition of partnering with Mass Audubon to put on an art exhibition and programming at Trident Gallery which focus on natural history.
This year again, by popular demand, artist Sandy McDermott will lead a drawing workshop on Drawing at Trident Gallery on drawing wildlife from nature 1–3pm Friday, Feburary 27th. See below for more information
And once again, complementing the Museum's collection within Trident Gallery will be works of art for sale: a selection of meticulous and fascinating drawings and new photography by Charlie Carroll, watercolors of birds by Marion Hall, and drawings by Gabrielle Barzaghi and Susan Erony.
Director Matthew Swift has curated The Art of Natural History with two organizing ideas. The first is Charles Darwin's famous closing paragraph of On The Origin of Species, in which the figure of an “entangled bank” testifies eloquently to the extraordinary complexity and interdependency of the natural world:
The second organizing idea is for the art in the exhibition to straddle the boundary between documentation and interpretation of the natural world, between dispassionate observation and emotional responses (such as seeing “grandeur in this view of life”), between rationality and human desires. What first appears to be a boundary is on closer inspection a zone, a liminal territory in which all that we may discover reveals something essential about human nature—the territory in common of art, theology, and science.
The Cape Ann Winter Birding Weekend has been postponed to February 27 – March 1.
The workshop “Drawing Wildlife from Nature” is consequently postponed to Friday, February 27.
Selected Works in the Exhibition
Favorites brings together a selection of twenty-two black-and-white and five color photographs which are among the artist’s favorites from his distinguished career.
Lynn Swigart’s photographs offer visual delight without sentimentality or pretension. His eye for abstract beauty does not submerge but instead completes and elevates the human reality of the scene. This vision gives us works of art in which solitude and communion become united and indistinguishable, moments of contact between permanence and impermanence. “You, too, have this marvelous world passing before you,” say these photographs — a cherubic face with an infectious smile, a boy’s joyful stride with a balloon, a moon discovered in a metal tank, a cobbler at work, a turn on an empty carousel.
Lynn Swigart was born in Kansas City MO in 1930 and spent his youth in Clinton IL. He began working as a professional photographer in 1951 and has studied with photographers Minor White, George Tice, and Gus Kayafas. He began photographing in Gloucester in 1976 as he began work on a project that resulted in the book Olson’s Gloucester (LSU Press, 1980) and an associated exhibition which toured the country. Swigart’s photographs have been exhibited in museums and galleries across the United States, and his work has been collected by prestigious institutions, including the Center for Creative Photography, the Carpenter Center for the Visual Arts at Harvard University, the Stanford University Museum, the Illinois State Museum, and the Cape Ann Museum.
Slideshow of prints currently in the Gallery. Most are on display. They are silver gelatin prints, and a few color chromogenic prints.
Trident Gallery is pleased to present an exhibition of Eileen Mueller’s recent oil paintings of the landscapes and sea vistas of Cape Ann, which add a fresh, intimate, and modern chapter to the continuing story of American art told on Cape Ann since the mid-nineteenth century.
Mueller has lived and painted on Cape Ann for more than twenty-five years: she has inhabited its places of beauty, discovered its enclaves, studied its legendary light, and found creative sustenance as a devoted and valued member of its cultural institutions. The native muses of stone and sea, the landscape and its people, provide her subject matter; and native muses inspire her painting style.
The exhibition Muses reveals the consequences of a turning point in Mueller's work when, five years ago, restless, she began to shed the prevailing idioms of Cape Ann painting, liberating passion and talent for expressiveness and abstraction. Her recent work enlarges the legacies of the region’s modernist stars: in her new paintings are the monumental forms of Marsden Hartley, the abstract energy of Nell Blaine, the astonishing freedom of Zygmund Jankowski’s brush, and the glowing details of contemporary impressionism, all expounded with a balanced intimacy of contact between perceiving subject and perceived object which is uniquely her own.
Mueller has studied at deCordova Museum, Montserrat College of Art, and the School of the Museum of Fine Arts, Boston. Her paintings have been shown widely in New England and New York and have been collected by the Cape Ann Museum and other prestigious institutions. She is a Copley Artist in the Copley Society of Art and a member of the North Shore Arts Association.
Works in the Exhibition
Trident Gallery is pleased to present an exhibition of Susan Erony’s art of testimony, remembrance, and affirmation of the human capacity for good and evil.
Erony’s work has been exhibited in museums and galleries in Germany, Switzerland, Austria, Italy, and throughout North America, and has been collected by leading institutions and private collectors.
Review reintroduces collectors and the public to the artist’s disciplined and forceful body of work from 1993 to the present, and to her themes of inhumanity and displacement, the solace and refuge of art, and the interplay of innocence, knowing, and not wanting to know.
In her most recent work, Erony continues to employ unusual and freighted materials in mixed media constructions — cement, seaweed, silk, lead, rust, and burned paper — and haunting images of her own eyes become potent emblems of a moral witness.
Every piece Erony makes is a profoundly thoughtful artistic statement. Review includes The Zimas,” a large-scale oil portrait of a Polish family murdered by the Nazis; “Promised Land,” a mixed media painting incorporating the lining of a coat belonging to her father, who came to the United States as a refugee from anti-Semitic violence in Ukraine; and “Listening Ritual,”a mixed media painting embedded with thousands of pieces of steel shot, individually glued.
“I believe that art can save the world,” states Susan Erony. “I expect still in my heart that if one sees a great painting that one will become enlightened, and that’s what keeps me going.”
Exhibition materials available online:
Works in the Exhibition
August 1 – September 1, 2014
“Mordecai paints with a physicality that made me want to close my eyes and run my hands over her art.”
— from the review by Cate McQuaid in the Boston Globe, August 20.
"Several large works dominate the room, but large or small, every one carries the sense of masterful construction."
— from the review by Keith Powers in the Cape Ann Beacon, August 7.
“As seen across several media comprising this exhibition, Ruth Mordecai’s creative accomplishment is enormous,” said Judith Tolnick Champa, Editor-at-Large, Art New England. “She never ceases to explore.”
— from a contributed review by Judith Tolnick Champa, Editor-at-large, Art New England.
Trident Gallery is pleased to present an exhibition of new paintings, collages, and monotypes on paper by Ruth Mordecai.
In Ruth Mordecai’s works on paper, most often black and white paint or collage defines sculptural forms, and added lines expand the work into pictorial space, exploring memory and spiritual resonance through cultural symbols such as apples, baskets, and ladders. Color is spare but prominent.
Mordecai takes up philosophical and religious questions through a visual exploration of shared symbols. Her works on paper embody exquisite sculptural tensions of gravity and balance, or else are sculptural forms imbued with the movement of painterly gesture. Her love for the human form and for our spiritual relationships to shared symbols endow her work with depth and warmth.
Mordecai describes her process as “the stacking of various images that over the years have become the iconography of the work: Jacob’s Ladder, the moon, apples, an ancient sun, a horizon line, a basket or wagon or figures in dance.” Ruth Mordecai earned a BFA and MFA from Boston University College of Fine Arts. For twenty-five years she made sculpture and painted in Boston’s Fort Point District. For the last fifteen years, she has painted in a studio on Rocky Neck in Gloucester.
Ruth Mordecai has shown in Boston, New York, and Washington, DC, and her art is in prestigious collections, including the Museum of Fine Arts, Boston; the Israel Museum (Jerusalem, Israel); the Rose Art Museum; and the Wiggin Prints and Drawings Collection of the Boston Public Library. She is represented in Boston by Soprafina Gallery and in Gloucester by Trident Gallery.
Trident Gallery is pleased to present Harbortown 2014, an exhibition celebrating Gloucester Harbor and the area’s legacy of more than 150 years of excellence in the visual arts.
Harbortown 2014 proudly displays works of art by eighteen Cape Ann artists, including four guest artists and introducing Gloucester artist Ed Touchette, now represented by Trident Gallery. Complementing the exhibition, specially selected additional works of art by these artists will be available to view in the gallery on request.
“I want this exhibition to invite us to look at Gloucester, the city which grew up around a harbor on this rocky extremity of Massachusetts,” says Gallery Director Matthew Swift. “Gloucester has been a port city for four centuries. Recently, downtown embraced a new name for itself, Harbortown, when it received state recognition as a cultural district. What does this say about who we are today?”
“Living by the sea in Gloucester, we see horizons, grand perspectives that offer more than can be understood, giving us a way — a salty, tempestuous way — to think about the twin horizons of the past and the future. We came from the sea long ago, most of us as immigrants, all of us much earlier as walking fish; and in another few centuries, our city at the edge of the continent may be back under the sea.”
This exhibition is about these ideas and others — it is about what some of today's artists here are thinking about and saying.”
Gloucester Harbor is America's oldest seaport.
Trident Gallery is located in the heart of downtown Gloucester and the Harbortown Cultural District.
Trident Gallery is pleased to present an exhibition of figure paintings and drawings by Dennis Flavin. New and recent works on canvas and paper are displayed with earlier paintings illuminating Flavin’s path from realism to abstraction into the uninhibited and confident expressive style which has earned him notice and acclaim.
After training at Vesper George School of Art and the Gloucester Academy of Fine Art, Flavin painted on Cape Ann for nearly four decades before his first public exhibition in 2012, which resulted in immediate attention from curators: a solo exhibition at the Cape Ann Museum followed in 2013, and subsequently his work has been shown at Trident Gallery.
In Flavin’s best work from the 1980s and 1990s, strong colors and forms, gauzy layers, and nightmarish distortions threaten to subdue realism. Flavin experienced a breakthrough in 2007 when he began to paint “completely from [his] mind, not looking at anything other than [his] canvas.” The freedom was exhilarating, and making art became an increasingly intense experience. In this creative trance, Flavin and his creation mutually transform each other. Neither has independence, and there is no intermediating scene between the artist’s creative engagement with memory, composition, color, and form, and his sensory engagement with the art surface. “When you paint,” says Flavin, “you have to have emotional feeling, you have to take risks, … you can’t hold back.”
The new direction led Flavin at first into purely abstract paintings and then toward figure paintings possessing an exalted energy and expressiveness which his foray into abstraction seems to have uncorked.
The signature of Flavin’s evolving style is a riotous abundance of color, which creates meaning and honors the subject by attesting with nuanced craftsmanship to its inner complexity. Likewise, there is more than sensual richness in Flavin’s thickly layered oil and pastel medium, which corresponds to a history of evolving versions of the figure, layers of experience that have built up a unique personality and work of art.
Trident Gallery is pleased to present an exhibition of exceptional and historically important oil and watercolor paintings from the estate of Zygmund Jankowski (1925–2009). Jankowski was a dedicated and innovative painter, a colorful and generous personality, and a loved and respected teacher on Cape Ann from the 1970s till his death in 2009. His paintings have been exhibited nationally and internationally, and he is one of the most important artists of his time in the Cape Ann tradition, influential both as a painter and as the colleague and teacher of a generation of artists.
The exhibition coincides with the release on May 3d of a book on the artist, having nearly 100 pages and as many images, presented with the artist's words from published and personal sources, and with remembrances and commentary by friends, colleagues, and students.
“The cycle of seasons is deeply imprinted in human consciousness; it matters to everyone and has meaning for all. The idea behind Winter Meditations is to remind ourselves how engaging with art deepens our experience of life by drawing forth our own creativity. Good art has the power to enlarge our views, develop our sensibilities, and fuel our spiritual journeys, but viewing art becomes a dry exercise if we lose touch with the experience of art as a creative act itself. I want to mount an exhibition which emphasizes the pleasure and creativity in the viewer’s experience of art, rather than the goal of grasping the artist’s unique gifts and vision, which though important can distract us from the reasons we value the hard work of artists so highly in the first place; the reasons we choose to bring art into our homes, schools, and workplaces; the deep, human reasons why stories, images, movement, and music matter.”
From Friday, January 24th, through Sunday, March 2d, Trident Gallery is proud to host a loan from the Massachusetts Audubon Museum of American Bird Art of more than 30 prints, paintings, and miniature sculptures by the renowned and important artists John James Audubon, Milton Avery, Andy Warhol, Allen James King, Robert Verity Clem, Lars Jonsson, and others. All the works of art depict bird species present on Cape Ann in winter, and their exhibition constitutes a new extension to the Cape Ann Winter Birding Weekend (Friday–Sunday, 31 January – 2 February) a festival which celebrates the winter bird life of Cape Ann, especially those Arctic species rarely encountered farther south. Sponsored by Mass Audubon and the Cape Ann Chamber of Commerce, the event draws several hundred participants to hear expert presentations and embark on bus tours and a boat trip to see the birds. A birding guide for the event in past years, Director Swift has this year orchestrated the festival’s new art component at Trident Gallery.
Works of art by Gabrielle Barzaghi, Winston Swift Boyer, Charlie Carroll, Susan Erony, Dennis Flavin, Eileen Mueller, Joe Poirier, and Lynn Swigart will be on display during the entirety of Winter Meditations. In the final phase, Persephone's Return, additional works of art by these and other Trident Gallery artists will take the place of the departing Mass Audubon winter bird art.
The following events are free and open to the public. Space is limited for the workshop and performance events. Guests may reserve seats by contacting the gallery before an event at 978-491-7785 or by e-mail at events@TridentGallery.com. The gallery will reply promptly to confirm seats or standing room / watiting list status. Responses within 12 hours of the event cannot be assured. House doors will open 15 minutes before the event (earlier when possible). For events with all seats reserved, those without reservations will be invited to fill in any empty seats promptly at the scheduled start time. It hasn't happened yet, but unforeseen circumstances such as snow may lead to postponement or cancellation of an event, so please check the web site or call the gallery shortly before an event to confirm its status.
evokes the contemplative stillness of winter
honors the skill and habit of close observation of life shared alike by artists and naturalists
Artist Sandy McDermott will lead off the Winter Birding Weekend with a workshop at Trident Gallery on the close observation and field sketching of birds and other wildlife.
No prior drawing experience is necessary. Free. Reservation required.
Live animals of any type can be a challenging subject to draw. Birds especially are constantly moving. How does one attempt to render them?
Observation is key. Come to this workshop and learn how to combine fast sketching with quick observation! You will learn how important it is to keep your eye on the subject, not your paper. You will also learn how to focus on parts of a bird first, rather than the whole portrait. Basic avian anatomy and topography will be discussed. Weather depending, we’ll step outside to draw from life. Photographs and mounted specimens will also be used.
Workshop plan: Orientation (15m), Drawing and observation exercises (45m), Avian anatomy (20m), Sketching outdoors, weather permitting, otherwise from photos (20m), Discussion and review (20m).
Please bring with you (1) a 9"x12" or larger sketchpad (newsprint pads not recommended), (2) drawing pencils (4B, 2B, F, and 2H as a suggestion), (3) black permanent or felt-tipped pen, (4) a white eraser, and (5) a kneaded eraser. If you have any questions about supplies please call or email the gallery.
Trident Gallery is delighted to present a reading by acclaimed poet Brendan Galvin, a Guggenheim Fellow and the author of sixteen collections of poetry, including Habitat: New and Selected Poems 1965-2005 (2005, LSU Press), a National Book Award finalist, and Whirl is King: Poems from a Life List (2008, LSU Press), a collection of his poems about birds. Reservation recommended.
Critical Praise for Brendan Galvin
"Few living poets are as memorable in their descriptions of the goings-on in the non-man-manufactured world."
-- The New York Times Book Review
"Over the past four decades, in an era deeply suspicious of the relationship between language and external reality, Brendan Galvin has been quietly reminding us that the best poetry can deepen our understanding of the natural world and of each other."
-- National Book Award statement
"Brendan Galvin is an essential presence in contemporary American poetry."
-- Tar River Poetry
"If future literary historians wish to demonstrate an excellent late-twentieth-century non-formalist who writes directly and accessibly, let Galvin be their example....More toughminded than most of his peers, Galvin is also far less predictable."
-- X.J. Kennedy, Shenandoah: The Washington & Lee University Review
"Brendan Galvin has an exciting gift for finding the unexpected word that proves miraculously perfect in its setting."
-- The Atlantic Monthly
About Brendan Galvin
Brendan Galvin is the author of sixteen collections of poems. Habitat: New and Selected Poems 1965-2005 was a finalist for the National Book Award. Ocean Effects appeared in fall, 2007. His translation of Sophocles' Women of Trachis appeared in the Penn Greek Drama Series in 1998. Whirl Is King appeared from in 2008. The Air's Accomplices, a collection of new poems, is forthcoming from LSU Press.
His awards include a Guggenheim Fellowship, two NEA fellowships, the Sotheby Prize of the Arvon Foundation (England), the Iowa Poetry Prize, and Poetry's Levinson Prize, as well as the first OB Hardison, Jr., Poetry Prize from the Folger Shakespeare Library, the Charity Randall Citation from the International Poetry Forum, the Sewanee Review's Aiken Taylor Award in Modern American Poetry, and the Boatwright Prize from Shenandoah.
He has published over 500 poems in magazines, textbooks and anthologies, including 21 poems in The New Yorker. His fiction, critical reviews, and book reviews have appeared in numerous publications including Crazy Horse, Laurel Review, Ploughshares, Northwest Review, and Poet Lore.
He has been Wyndham Robertson Visiting Writer in Residence in the MA program at Hollins University, Coal Royalty Distinguished Writer in Residence in the MFA program at the University of Alabama, Tuscaloosa, visiting writer at Connecticut College, and Whichard chairholder in the Humanities at East Carolina University.
He grew up in the Boston area and lives in Truro, Massachusetts, a small town on outer Cape Cod.
dwells on loss, desire for change, the inevitability of change, hope for spring’s renewal, and the bonds with others which the pressures of winter’s deprivations renew
Trident Gallery warmly welcomes Rufus Collinson, Poet Laureate of Gloucester, who will give a poetry reading marking the beginning of "Longing." Reservation recommended.
Ruthanne (Rufus) Collinson has worked as a journalist, photographer, bookkeeper and turkey farmer. Two books of her poetry have been published by Folly Cove Books, Turning the Stones (1997) and Traveling to You (2008). A paper flyer is also available, and a jpg like the one below but with venue information suitable to email to your friends.
Naturalist Chris Leahy is a charismatic and popular speaker as well as a noted author and editor. Raised in Marblehead and a resident of Gloucester since the 1970s, Leahy will speak particularly about the birds of Cape Ann as he adapts a talk he has been giving at the exhibition "Audubon’s Birds, Audubon’s Words," at the Museum of Fine Arts in Boston to the forty works of bird art currently at Trident Gallery.
Leahy’s interests in natural history are comprehensive, and he is a recognized authority on birds and insects; he holds the Gerard A. Bertrand Chair of Natural History and Field Ornithology at Mass Audubon; he has led natural history explorations to over 70 countries on all of the continents; he is the author of The Birdwatcher’s Companion to North American Birdlife (1,072 pp), Birds of Mongolia (forthcoming), The Nature of Massachusetts, The First Guide to Insects, “A Guide to Winter Birding on Cape Ann,” and other publications.
celebrates the sure signs of spring which appear in early March
An evening of music and dance performance heralds the return of spring and again unites the visual and performing arts, marking the beginning of "Persephone's Return." Multi-instrumentalist composers Nathan Cohen and Anthony Leva explore sonic geographies and genres. Dancers Olivier Besson and Chandra Cantor improvise duets with poetic intimacy, striking clarity, and dynamic surprise.
A cornucopia of art to feed the soul. On the centerpiece, new abstract pastels by Dennis Flavin and a new series of Bass Rocks oil paintings by Patti Sullivan. Filling out the feast, modest morsels and substantial sides by eleven other gallery artists — Gabrielle Barzaghi, Nadine Boughton, Winston Swift Boyer, Charlie Carroll, Susan Erony, Pamela Ellis Hawkes, Zygmund Jankowski, Ruth Mordecai, Eileen Mueller, Joe Poirier, and Lynn Swigart.
First come, first served. Bring your intellectual appetite, moral cravings, and spiritual hunger, and find satisfaction in art, which may be taken home immediately to nourish families, invigorate infants, and revitalize the elderly. Art is wholesome and recommended for all living, loving beings.
Art may be taken home when purchased; walls will be replenished.
Three Artists in Dialogue with the Past is an exhibition of works by three contemporary artists who engage the imagery and ideas of the mid-twentieth century and of earlier eras. Working each in a different medium, they create and critique images and narratives of the past, both imagined and historical, drawing viewers into worlds that are strange yet feel familiar, or look familiar yet feel strange. As viewers, we are led into dialogues with ourselves and with history as we confront anew the power of stories and images to shape our perceptions and convictions.
The title of Gabrielle Barzaghi’s major new work “How to Stay Alive in the Woods,” a grid of 15 drawings, refers to a wilderness survival manual published in 1956. Her “Paleolithic Picnic” is a series of nine drawings illuminating a world that is dim, primeval, and as familiar as a myth.
Nadine Boughton stitches together imagery from the popular magazines of 1945–1965 into witty and trenchant digital collages that blend nostalgia for the past with the darkness beneath the pleasures of modern living. Her series of eight collages titled “The Pleasures of Modern Living” is displayed in the Vault Room at Trident Gallery.
Susan Erony’s painting “The History of Eugenics, Part I” is a copy of an eighteenth-century drawing by Dutch anatomist Petrus Camper showing a “progression” from ape to ideal human. Her work prompts solemn consideration of the perils of transplanting ideas between cultures, of our appetite for reason and order, and of both the powers and the limitations of visual images.
"Home: The Inaugural Exhibition"
twelve artists representing the excellence and variety of contemporary fine art on Cape Ann
Friday, August 30, 2013 – through – Monday, October 14, 2013
Artists: Albert Alcalay, Winston Swift Boyer, Charlie Carroll, Susan Erony, Dennis Flavin, Pamela Ellis Hawkes, Zygmund Jankowski, Ruth Mordecai, Eileen Mueller, Joe Poirier, Patti Sullivan, Lynn Swigart.
Gallery Director Dr. Matthew Swift has assembled 39 works of art that explore ideas of “home,” a theme he will examine in programmed discussions, gallery conversations, and written materials.
Home is a point of departure and a place of return.
Home is the place of one’s dwelling or nurturing — Gloucester, Cape Ann, the United States, the planet Earth.
Home is the seat of one’s domestic life and overlapping communities; it is a place of safety and comfort.
Home is a target, the destination of a creative mind striving to think, to forge meaning, to provoke, to pay homage, to become beautiful.
An exploration of Italo Calvino's novel Invisible Cites through performance, involving spoken text, music, visual art, projected images, and dance, produced by Gallery Director Matthew Swift, Trident Live Art Series Director Sarah Slifer Swift, and artist Ed Touchette.
Please see the Live Art Series section for further information about attending performances.
Trident Live Art Series Performance: Music, Dance and Animation in Performance
Trident Gallery is pleased to present
My Brother Daniel — live electronic Music Set
Alan McDermott/Vincent Cacialano — dance film Animation Project
Vincent Cacialano with Sarah Slifer Swift — dance performance Crescendo—Magnet
Reservations are strongly recommended. Please see the Live Art Series section for further information about attending performances.
My Brother Daniel is the live and improvised moniker of Scott D. Buchanan aka Radio Scotvoid. His original music is heavily influenced by chiptune, ambient electronica, and noise; however you may hear trickles of freeform jazz, funk, and even punk rock within his style. Scott will bring his knowledge of dj-ing, controller-ism and improvisation to the table for this special one-off live set made especially for Trident. For more information on the artist, see radioscotvoid.com.
Animation Project is a collaboration between Film Artist/Animator Alan McDermott and choreographer Vincent Cacialano. The short clips demonstrate a trial and error process of ideas and techniques using animated stills with the intention to explore the energy of motion and its trajectory in space beyond the body. For more information on the artist, see alanmcdermott.net.
Crescendo—Magnet is a movement performance choreographed through mind/body states and motivation, and a connection to sound and space. Concept by Vincent Cacialano, performed by Cacialano and Trident Live Art Series Director Sarah Slifer Swift. For more information the artist, see vincentcacialano.com.
Trident Gallery will close at 6:30pm to prepare for the performance.
Trident Gallery is pleased to present the Ipswich Moving Company, led by artistic director and choreographer Janet Craft, and the Boston-based improvisational music trio of Emilio Gonzalez, Matt Samolis, and Dei Xhrist for a Trident Live Art Series performance of modern dance and improvisational music.
The Ipswich Moving Company will present four excerpts from Look, Look Again / Dance Installation (2015), and the musicians will present Space Abstraction Study #6, an improvisational piece for amplified kalimba, flute, and voice/movement.
The Ipswich Moving Company is a professional modern dance company based in Ipswich MA led by Janet Taisey Craft for over thirty years. Gonzalez, Samolis, and Xhrist are, in various combinations, musicians, composers, scholars, musicologists, sonic curators, and performance artists.
The Ipswich Moving Company makes its home in a renovated barn in Ipswich and has contributed to the artistic life of New England for over thirty years.
The Company presents modern dance performances in theaters, schools, outdoor spaces, and galleries. It has performed at the Edinburgh Fringe Festival, and their full-evening aerial dance concert, Free Fall, has been aired on British Cable TV, produced on the worldart.com webcast, and presented in the Boston Center for the Arts’ Spotlight on Dance Series.
Since 1986, the Company has created original aerial productions that have expanded the scope and enhanced the technology of aerial dance. Recent major productions include, Images (2011), a collaborative performance with The Orchestra On the Hill; Ground (2012), an aerial dance performance; and Look, Look Again / Dance Installation (2015).
The Ipswich Moving Company School is an educational center for dance. The school offers Summer Aerial Dance Intensives (e.g., July 6–10, 2015).
Janet Taisey Craft is the founder of The Ipswich Moving Company. Her choreography has been presented in the US, the UK, the Netherlands, and Russia. Her choreography has received recognition from the Massachusetts Artist Foundation and the Massachusetts Cultural Council. She was the Head of Dance at Emerson College for twenty-four years. She created her first aerial dance using looped climbing rope in 1986 for the Montserrat Gallery and has continued to define and refine her unique form of aerial dance. In 2008, Janet joined the dance faculty and a became a guest choreographer at Perry Mansfield Performing Arts School and Camp in Steamboat Springs CO, where she created new aerial works for five summers. In 2014, she formed an intergenerational ensemble of dancers who created and performed original works in a concert entitled Here & Now.
Emilo Gonzalez is a pianist, musicologist, and composer with roots in North Carolina and northwestern Spain. In addition to pursuing research interests in fifteenth-century Spanish music and the musical traditions of twentieth-century American ballet and modern dance, he explores improvised and notated traditions of music and movement with other musicians and dancers in a broad variety of settings around the greater Boston area.
Matt Samolis has been working in sonic and visual mediums since 1987. He began studying flute, and later included composition and tenor banjo. He has worked with ensembles at New England Conservatory, Brandeis University, Berklee, and Tufts, as well as Open Hand Theatre, Pilgrim Research Collaborative, Mobius, Roy Hart Theatre, and numerous other projects. Currently, his focus is on composition and performing as a flutist with various groups. He also curates a concert series of new music at the Church of the Advent Library in Boston.
Dei Xhrist is a visual artist working with illustration, dioramas, performance and vocalism. She has worked with the Empire S.N.A.F.U. Restoration Project’s immersive installations as an actionist and moving figure. Her vocal work with Birdorgan blends glossolalia, torch songs, and bel canto with noise drones, psychedelia, and early Krautrock. She performs in Eastern MA and regional experimental music festivals.
Trident Gallery is pleased to host this ninth Trident Live Art Series performance with three acclaimed choreographers, all professors of dance at Salem State University. Three showcases the distinct choreographic voices of Caitlin Corbett, Meghan McLyman, and James Morrow in the intimate setting of Trident Gallery.
James Morrow brings his solo I met the soul walking along my path. The piece confronts the ways that patriarchal culture keeps men from knowing themselves. Through moments of violence and vulnerability Morrow breaks through levels of conditioning in order to find ways of expression.
Meghan McLyman is showing her trio Growing Pains, which explores the balance between motherhood and oneself, including the joys, frustrations, and pure exhaustion of simply trying to make it through the day.
Caitlin Corbett, known for her masterful choreography for non-dancers and professionals alike, will present Gimme, a duet made on her colleagues McLyman and Morrow.
Caitlin Corbett, artistic director of Caitlin Corbett Dance Company, has presented work in the Boston area since 1984. Caitlin received her BA from Bennington College where she studied with Martha Wittman and Judson choreographer Judith Dunn. She also holds a MFA from Massachusetts College of Art. She has danced with Johanna Boyce, Lisa Kraus, Wendy Perron and Susan Rethorst. In spring 2009, she received a Fulbright fellowship to teach and create new choreographic work in Helsinki, Finland. She has received commissions from Dance Umbrella and First Night as well as grants from the New England Foundation for the Arts, Massachusetts Cultural Council and Cambridge Arts Council and a Carnegie Foundation Copper Scholarship. Caitlin is a Professor at Salem State University where she teaches dance. Further information: www.caitlincorbettdance.org.
James Morrow is an assistant professor of dance at Salem State University and artistic director of jamesmorrow/TheMovement. Morrow is a native of Chicago, and coming from an urban background, he yearns to see the classical vocabulary prevalent in concert dance integrated into the hip-hop culture in which he is submerged. His movement has become a fusion of modern, contemporary, and urban dance styles. He received a fellowship to Hollins University/The ADF (2011) where he earned his MFA in dance. Morrow was on Faculty at the American Dance Festival (summer 2010). Most recently, Morrow is the recipient of Bates Festival Teacher Fellowship (2013), and Massachusetts Cultural Council Fellow in Choreography (2014). Further information: www.jamesmorrowthemovement.com.
Meghan McLyman is an Associate Professor of Dance at Salem State University. She graduated with a BA in dance from Point Park University and received an MA in dance and arts management from American University, as well as an MFA from Hollins University in partnership with the American Dance Festival. Meghan has taught courses at various dance programs including The Colleges of the Fenway, The College of the Holy Cross, James Madison University, North Quincy High School, Green Street Studios, and Avery Ballet. She has held master classes at Tufts University, MIT, Webster University, the American Dance Festival, the American College Dance Festival, and at MAHPERD. She is the co-director of Accumulation Dance and has received recognition for her work from the Boston Center for the Arts, Crash Arts/World Music, Green Street Studios, the Somerville Arts Council, Concord Academy and at the American Dance Festival. She has performed with The Caitlin Corbett Dance Company, The Falling Flight Project, Digby Dance, The Moving Laboratory, Flip Side Dance Theatre, and Sister's Trousers. She is also the President of the Massachusetts Dance Education Organization, the state chapter under NDEO. Further information: www.accumulationdance.org.
The Trident Live Art Series presents Stephen Hastings-King’s X, a contemporary work of fiction staged as a reading with audio and visual elements.
X is the story of a parasite in forty parts. It was constructed as a series of inversions. X is circular, without beginning or end. X is a situation put into motion. It would work its way into your head.
Stephen Hastings-King lives by a salt marsh in Essex, Massachusetts, where he makes constraints, works with prepared piano, and writes entertainments of various kinds. His short fictions have appeared in Sleepingfish, Black Warrior Review, elimae and elsewhere.
Reservations are strongly recommended. Please see the Live Art Series section for further information.
Stone Stairway Stories is a performance piece by Carl Thomsen (dance) and Julie Cleveland (digital piano), which continues Thomsen’s decades-long exploration of the interface between dance, music, and storytelling. In this performance, the storytelling will come from the audience: the dance and music will reflect and respond to the experiences and memories of the audience, elicited through a series of questions, answers, gestures, and movements offered by those in attendance.
Carl Thomsen was the Artistic Director of Dancers Courageous Inc., a dance and theater company and school in Gloucester from 1995–2005. His previous shows have included Clear Away (1998), which told the story of a fisherman lost at sea and the subsequent healing of the community; Gift of Vision (2001), which looked at the life and times of Gloucester painter Fitz Henry Lane; and Silent Men Speaking (2006), a powerful look at the lives of three Vietnam veterans’ lives before, during, and after the war. Thomsen, after 35 years in theater and dance, is now a remodeling contractor but continues to do his own theatrical work. He also made his “legitimate” theater debut last year with Cape Ann Shakespeare Troupe. He has three sons and lives in Essex.
Julie Cleveland is a pianist, teacher, and composer, trained in both classical and jazz piano and composition. As a free improviser, she’s been especially influenced by jazz pianist Keith Jarrett. Lately she’s been improvising on pieces from Bartók’s Mikrokosmos and is undergoing the somewhat daunting task of learning the piano solo of Mahler’s Adagietto, written for string orchestra and harp, on synth. She also plays the melodica and is working on tangos by Piazzolla and Gardel. Julie is a private piano and music instructor, teaching both kids and adults out of her downtown Gloucester studio (CapeAnnPiano.com). She’s grateful to the Trident Live Art Series for the opportunity to collaborate with Carl on Stone Stairway Stories.
Reservations are strongly recommended. Please see the Live Art Series section for further information.
As part of the 7th Annual Cape Ann Film Festival, and in anticipation of the Lynn Swigart: Faviorites exhibition, Trident Gallery will host a showing of the film Finding Vivian Maier, a 90-minute documentary film about street photographer Vivian Maier.
Cape Ann Community Cinema passes and tickets purchased in advance are preferred, but all forms of payment will also be taken at the door, $10.50. Students and 60+ $9.
Sunday, August 17, 8pm
A performance surprise is also in store.
Light refreshments and conversation to follow performance.
Reservations are strongly recommended. Please see the Live Art Series section for further information.
Sensors detecting Emily's movement drive the production of sounds through a system developed by Knoth. Space becomes an instrument that Emily can play, bending sound with her body. The dancer negotiates a compilation of interactive, recorded, and live sounds, exploring what it might look like to decipher noise through the body, searching for a solid signal.
Open House, with the three other galleries of the Pleasant & Main Art Zone, during the Middle Street Walk prior to the Annual Lobster Trap Tree Lighting at Police Station Plaza. (For the flyer and schedule, follow the link and see the Facebook photos.)
All four galleries will have refreshments. Visit all four to collect the pieces to assemble your very own Plesant & Main Art Zone Art Cube! It's an ornament, an earring, a cube of chance, a miniature art gallery, and more!
The Trident Live Art Series presents performances by seasoned professionals showing experimental and collaborative work in the intimate salon setting of the gallery. Performances of 20–40 minutes are followed by refreshments and informal conversation.
Admission is free. Voluntary donations ($10 suggested) compensate the artists. The free experience of art at Trident Gallery is made possible by those guests who support the arts through purchases of fine art and donations to performing artists.
Seating is limited. Guests may reserve seats by visiting the gallery, by calling +1 (978) 491-7785, by sending e-mail to events@TridentGallery.com, or by joining the corresponding Facebook event (please do not respond "Maybe" on Facebook). Trident staff will respond promptly to confirm seat reservations or else to advise regarding standing room, floor seating, or waiting list status.
House doors open 15 minutes before the event (earlier when possible). At fully reserved events, guests without reservations will be invited to occupy empty seats promptly at the scheduled start time.
Founding support for the Live Art Series is provided by Trident Gallery, which furnishes the venue, provides publicity, and guarantees minimum compensation to the performing artists. Supplementary fiscal support in 2015 is provided by the Massachusetts Cultural Council.
Live Art Series Director Sarah Slifer Swift curates and produces the performances, drawing on two decades of experience in the United States and abroad as a dance artist, choreographer, and producer.
Trident Gallery is in downtown Gloucester, Massachusetts, on Main Street at the corner of Duncan Street (which becomes Pleasant Street as it crosses Main). Click here for a map and notes on nearby parking.
Gallery hours are specific to each exhibition and are published at the top of the gallery home page together with notices of exceptions for holidays, special events, transitions between exhibitions, and unforeseen circumstances including severe weather.