August 30, 2011

Call for Artists! NURTUREart's Annual Benefit

Sharon Butler, "Red Rimmed," 2011, acrylic on canvas, 11" x 14."

UPDATE(September 3, 2011): NURTUREart received a record number of submissions this year--over 600--and will select 150 pieces for the exhibition. Thanks everyone for submitting. The benefit will take place at the Chelsea Art Museum on October 11.Tickets are $200 (before October 1) and guarantee that guests take home a piece of artwork. For more ticket info, click here.

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I'm on the NURTUREart Benefit Committee, and I regret that I didn't donate anything to the 2010 benefit, so I submitted this little painting to the 2011 fundraiser. All artists are invited to submit work for donation to the 2011 Annual Benefit, which will be curated by Pamela Auchincloss (I used to love her gallery on Broadway back in the day), David Cohen (Publisher and Editor of ArtCritical), James Kalm (Hi Loren!)  and Gregory Volk (NYC art critic and curator).  Thanks to the guys at ArtCat who donated their technical services, the submission process takes about five minutes. 

I support the organization because NURTUREart has always been a good organization for artists. In 1997 George J. Robinson founded NURTUREart to help show and promote emerging artists. He mounted guerilla exhibitions in donated spaces whenever and wherever possible, and started a slide registry in a filing cabinet in his Washington Heights apartment. As the Artists’ Registry grew exhibits took place in all over the city from the United Nations and Citibank to empty Lower East Side storefronts. In 2003 NURTUREart opened a gallery space in Williamsburg that featured collaborations between emerging curators and artists from the slide registry. In 2006 NURTUREart found a bigger and better permanent home on Grand Street in East Williamsburg/Bushwick and Karen Marston, a longtime volunteer and trustee, became the Executive Director. This year NURTUREart is moving into a new Bushwick space.

Online submissions must be received by midnight, September 1, 2011!

Artwork can be in any 2D or 3D medium, framed or unframed, maximum 20” in any direction including frame. All artworks must be able to be hung on a wall; sculptors may include a small shelf for display. Please upload a jpeg file—no larger than 150 KB and no more than 600 pixels in any direction—to our benefit submission page for the curators’ review. Only one submission per artist, please; multiple submissions from an artist will not be reviewed.  We will notify all artists by email in mid-September whether or not work has been selected.
 For complete guidelines and information, click here.

2011 Benefit Committee:
Co-Chairs: Deborah Brown and Asya Geisberg
Honoring: Chloƫ Bass and Laura Braslow of Arts in Bushwick and Stephanie Hightower, Director of the Outreach Program at the Cooper Union School of Art

Committee Members: Elisabeth Akkerman • Matt Alcuri • Leslie Alexander • Christopher Apgar • Sayaka Araki • Daniel Aycock and Kathleen Vance• R.C. Baker • Catherine Behrend • Heather Bhandari *• Lisa and Saul Bolton • Greg Bongen • Angela Borreggine • Karin Bravin • Stephanie Brody-Lederman • Deborah Brown *• Frank Buonadonna, Minker Monk Music • Sharon Butler • Paul Campbell • Bill Carroll • Elisabeth Condon • Jules de Balincourt *• Rob de Oude, Camel Art Space • Liz Dimmitt • Christine Dobush • Jessica Duffett • Dennis Elliott • Ann Fensterstock • Ed Ferris • Christine and Andrew Fitts • Joseph Franquinha • Carla Gannis • Laurel Garcia Colvin • Asya Geisberg • Holly Greenfield • Heidi and Jim Hanley • Ruth Hardinger • David Harper *• Cynthia Hartling • Kylie Heidenheimer • Lesley Heller • Monica Herman • Stephanie Hightower • Elizabeth Barbara Hitz • Christopher K. Ho • Barry Hoggard and James Wagner• Anne Hubbell • Paddy Johnson • Mandy Kalajian • Jeffrey Kastner • Leslie and Jim Kerby • Amy Kisch • Wendy Klemperer • Paulina Koudellou-Truncali • KK Kozik • Natasha Kurchanova • Eliot Lable *• Todd Levin • Cat Lindsay and John Newman• Matthew Littlefield • Joshua Marston • Karen Marston *• Valerie McKenzie, McKenzie Fine Art • Julie McKim *• Thomas Micchelli • Holly Miller • Kristian Narvesen Nammack • Pauline Nee • Margaret Neill • Cathy Nolan-Richer and Fred Richer• Pamela Nugent • Marilla Palmer • James Panero • Will Pappenheimer • Gary Petersen • Alison Pierz and Michael Bowen, StandPipe Gallery• Alexander Rahul • Ellen Rand, Art 101 • Elizabeth Riley • Anne Russinof • Barbara Salmanson • David Salmanson • Carol Salmanson • Amanda Schneider • Steve Shane • Dee Shapiro • Drew Shiflett • Erin Sircy • Katie and Jonah Sonnenborn • Richard Stewart • Sue Stoffel • Courtney Strimple • Michael and Isa Tcheyan • Benjamin Tischer *• Hrag Vartanian and Veken Gueyikian, Hyperallergic • Mukesh Vasvani • Roberta F. Vaughan • Robert Walden, Jr and Henry Chung, RHV Gallery• Lilly Wei • Karen Wilkin and Donald Clinton• Marion Wilson

August 25, 2011

Not buying American optimism: Kevin Regan and Cooper Holoweski at STOREFRONT

 Kevin Regan, collages from 1996 at STOREFRONT

This weekend is the last chance to see Kevin Regan (co-director of Famous Accountants) and Cooper Holoweski's show at  STOREFRONT. Holoweski presents mixed-media pieces about the dream of a middle-class utopia. Using imagery that ranges from Herman Miller furniture to the Ford Elmont Station Wagon, Holoweski proclaims a sincere nostalgia for the 20th century capitalist utopia--while understanding that it never really existed. Regan's mischievous sense of humor yields a set of collages inspired by personal events (all made in 1996), that reflect an incisively sardonic worldview in which mayhem hovers over the advertised comforts of American life.

 Cooper Holoweski, installation view

 Kevin Regan, installation view

 Cooper Holoweski, "Dream Office / Grandson," acrylic, spray paint, and Xerox transfer onpaper

Cooper Holoweski, "Wagon at Rest", sumi ink, acrylic, spray paint, and silkscreen collage on paper

 Kevin Regan, collage, 1996, on paper.
"Kevin Regan (Work from the Nineties)  and Cooper Holoweski (New Work)," STOREFRONT, Brooklyn, NY. Through August 28, 2011.

Related posts:
Out with the old, or, Hello 2011 (a few upcoming exhibitions)
Twitter notes

 Where I'll be today: Famous Accountants

August 24, 2011

On DVD: Vik Muniz's Waste Land

Vik Muniz, Woman Ironing (Isis), from the series "Pictures of Garbage", 2008, AP1 of 3+3AP, digital C-Print, 143 x 101,6 cm /56,3 x 40 in, MUNI0088

I just saw "Waste Land," Vik Muniz's 2010 documentary about the impoverished garbage pickers of the Jardim Gramacho landfill. At 321-acres, the open-air dump located just outside Rio is the largest landfill in Latin America. Muniz, a Brazilian artist who divides his time between Brooklyn and Rio,  spent two years photographing the workers in tableaux from well known paintings and then used the portraits as the basis for massive collages made out of recycled materials collected at the dump. With help from pickers and assistants throughout the project, he photographed the collages, sold them at auction, and shared the money with the picker's co-operative.

In the NY Times, Carol Kino wrote that Muniz has ambitions beyond the art world. "Something to do with alchemical transformation, not just of garbage into art, and art into cash, but also of people’s lives. In this he has been successful. Since the film wrapped, some of the catadores have found new jobs, and Mr. Muniz and the filmmakers have donated $276,000 to the cooperative, Mr. Ghivelder said, which has been used, among other things, to buy a truck and computers, found a library, provide capital funds for the organization and finance a small-business training program. (Another $50,000 from Mr. Muniz went to the catadores who posed for portraits.) The project also seems to have changed Mr. Muniz’s perspective on imagery. 'The really magical things are the ones that happen right in front of you,' he said. 'A lot of the time you keep looking for beauty, but it is already there. And if you look with a bit more intention, you see it.'”

Watch this clip to get a sense of the project.







The film is available on Netflix.

And speaking of Brazil: I highly recommend "Senna," a  recently-released documentary about the legendary Ayrton Senna, a three-time (could have been four if it weren't for a dubious disqualification from one of the races)  Formula One champion from Brazil who died at 34 while competing in the 1994 San Marino Grand Prix. After I left the Landmark Sunshine Theater the other night,  I saw a speeding motorcyclist swerve into a bike rider. The bicyclist, who wasn't wearing a helmet, was thrown ten feet in the air and landed in a heap on the pavement. As the ambulance arrived and the police took statements from witnesses, the biker's leg looked badly broken and blood poured from his head. A devastating night. I hope he'll be OK. Wear your helmets and drive carefully.

Related:
Artists' Choice/Mik Muniz curates "Rebus"   at MoMA

August 23, 2011

QR Codes or abstract paintings?

Here are the QR codes I just created for my website and Two Coats of Paint. I'm tempted to make paintings of them, but alas, it's all been done before....but maybe I should make some animated GIFs...?
 

Related posts: 
Bar Code Art on Twitter

A different side of Bushwick


In this clip from James Kalm Roughcut, Kalm asks Deborah Brown, curator of "Fresh Paint from Bushwick," if there is anything about painting in Bushwick that sets it apart from painting anywhere else. Brown doesn't think so. "People are working with ideas that are being used elsewhere but I tried to highlight some of the more interesting ones. Painting is not a trendy thing. It demands a commitment from the viewer as well as from the artist in an ongoing engagement, so I think the idea of trend is maybe not germane to this discussion. I tried to pick serious artists who I thought were investigating serious ideas in their painting." Artists include Gina Beavers, Holly Coulis, Halsey Hathaway, Rachel LaBine, Kerry Law, Adam Simon and Josette Urso.

Co-director of STOREFRONT in Bushwick and a painter herself, Brown is right. Painting in Bushwick (and elsewhere) is diverse, but many curators seem to be focusing on the provisional, casualist aesthetic in group shows this summer. Much as I love this kind of work, it's good to see Brown pull something together that's completely different.

 "Fresh Paint From Bushwick," curated by Deborah Brown. Standpipe Gallery, New York, NY. Through September 2, 2011.

August 21, 2011

Artist's house for rent

 
This renovated historic house in a charming New England coastal village is available for rent, $2600 per month. 3 Bedrooms, 3 full baths, excellent kitchen, efficient central heating, wood stove, 2 studio rooms in attic, two hours east of New York via Route 95 or Amtrak. Interested parties should send a note to twocoatsofpaint{at}gmail.com with HOUSE in the subject line. I'll forward details and more images.

The patio, excellent for reading, drawing, blogging and entertaining, overlooks a spacious back yard.

 Working drawbridge on Main Street, two blocks from the house.

 House in winter.

Village shops during the holiday season.

Boats decorated for the winter light parade on the river.

Looking in the window at Christmas.

Fully furnished with nice stuff.

 Looking across the river, one block from the house. Excellent dog-walking routes and public schools.

August 14, 2011

Lovely dark and deep (for a rainy summer Sunday)

Ezra Johnson, "The Time of Tall Statues (Still)," 2009, single channel video, duration: 14 minutes, Edition: 2/6 + 2AP.

“Stopping by Woods on a Snowy Evening” by Robert Frost

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

Anat Betzer, Untitled, 2007, oil on canvas, 39 1/4" in diameter


Melanie Daniel, "Grey Youth, Twilight Hour," 2011, oil on canvas, 29 1/2" x 35 1/2"

Allison Gildersleeve, "What About Yellow," 2010, oil and alkyd on canvas, 54" x 54"

Thomas Bangsted, Untitled, 2010, pigmented inkjet print, 45" x 55"

The Woods are Lovely, Dark, and Deep”, artists include Thomas Bangsted, Anat Betzer, Melanie Daniel, Allison Gildersleeve, and Ezra Johnson. Asya Geisberg Gallery, New York, NY. Through Spetmeber 10, 2011. Note: The gallery is closed August 13- 28.

Related posts:
Gallery visit: Allison Gildersleeve and Eric Jeor at Allegra LaViola



Tabletop projects at the 2012 College Art Association Annual Conference

Interdisciplinary artist Rachel Hines performs a work called Interview during ARTexchange in New York (photograph by Bradley Marks).
 
This year I'm helping organize (and co-host)  ARTexchange at the 2012 College Art Association Annual Conference. ARTexchange is an open forum for sharing work, and unlike many of the events at CAA, it's free and open to the public. Last year more than 60 artists participated, and this year we have room for up to 75.  I'll be live-tweeting and blogging about the event, and there will be an ARTexchange web page with links to individual artists' websites, so if you'll be at CAA, please plan on stopping by and/or participating. For faculty exhibiting work at ARTexchange, the event is considered "conference presentation" and may qualify for university travel funds. Woot!

More about ARTexchange: ARTexchange is an annual event showcasing the art of CAA members, who can exhibit their paintings, drawings, prints, photographs, sculptures, and digital works using the space on, above, and beneath a six-foot folding table. Artists may also construct temporary mini-installations and conduct performance, sound, and spoken-word pieces in their space. In the past, many ARTexchange participants found the event to be their favorite part of the conference, with the table parameter sparking creative displays. Of course, traditional media like painting and drawing are also welcome.

At the 2009 CAA Annual Conference in Chicago, readers may remember that I presented The Promotion Project--thanks again to everyone who contributed.

How to participate: To be considered for ARTexchange in Los Angeles, send your full name, your CAA member number, a brief description of the work you want to exhibit (no more than 150 words), and a link to your website to Lauren Stark, CAA manager of programs. Artists presenting performance or sound art, spoken word, or technology-based work, including laptop presentations, must add a few sentences about their plans. Accepted participants will receive an email confirmation. Because ARTexchange is a popular venue with limited space, early applicants will be given preference. Deadline: December 2, 2011.

The event takes place on Friday, February 24, 5:30–7:30 PM, in the Los Angeles Convention Center, and there will be a cash bar. For more info, check out the CAA website. ARTexchange is an ARTSpace program, organized by members of the Services to Artists Committee.

Related post:
Julie Green's Last Supper project
The Promotion Project: Update

August 11, 2011

Adam Tamsky's American art

 Max Schnitzler, 1943, oil on canvas (top), Ilyana Garmisa Druck, 1949, "Cubist Farm," exhibited at the Minnesota State Fair and the Minneapolis Art Institute (bottom).

One of my favorite galleries in New England has always been Adam Tamsky Fine Art, which specializes in paintings primarily made by under-recognized painters from the 40s and 50s. For many years the gallery was a fixture on Wickendon Street in Providence, RI, but when I was in Stonington, CT, the other day for the Annual Stonington Village Fair, I saw that Adam has opened a new gallery on Water Street. I immediately pulled the car over and ran in to see what was going on.

Robin the gallery dog.

Two Coats of Paint: Your gallery is a gem. You have a keen eye for under-known abstract painters from the early to mid 20th century. Why are you interested in this particular period of abstraction?
Adam Tamsky: I had been a collector of 19th and early 20thC. Landscapes for almost 20 years beginning in the early eighties. When I first opened my gallery in Providence in 1999 I focused on small landscapes and period frames. Gradually I became interested in work by American painters from the WPA era (roughly 1936-42). The paintings I focused on were landscape and figural works but with a decided “Modernist” bent. Many of the painters from that period continued to change their style as they entered the war years and I simply followed their interest in experimenting with non-objective painting. I also read a lot about the “Irascibles” (Pollock, DeKooning, Rothko, et al) in an attempt to try to understand what they were doing. The 1950’s in New York City has now become my favorite period in American art and has proved a fertile ground for finding engaging works by lesser known artists.
Dorothy Seckler, "Road Crew," 1940, oil on board. Seckler interviewed notable artists for Art News 1950-56 and Art in America.

TCOP: How do you find the work you display in the gallery? Is there something specific you look for in a painting?
AT: Most of the paintings I find come from family members of the artists I seek. Some come from auctions, and a few are brought to me by pickers who have come to know my taste. As for what I look for in a painting, I am interested in works by trained professionals. People who can handle color and design deftly regardless of the style they choose. If I had to use one word it would be “quality”, but that would take several pages to explain.

 Joseph Meert, "Foggy Night," 1948, oil on canvas (top), Jerome Seckler (Dorothy's husband), "Abstract," 1965, oil on canvas (bottom). Apparently Jerome Seckler studied with Hans Hofmann.

TCOP: Has your focus changed since you opened the gallery in Providence 12 years ago? Do you think shows like "Mad Men" have increased interest in the Modernist paintings you sell?
AT: I don’t know about “Mad Men” in particular, but I have noticed an increase in Modern paintings and prints as well as modern furniture showing up in the popular magazines and current movies. I do expect to change my focus now that I have moved to a smaller gallery in Stonington. I will be showing more furniture, jewelry, and lighting from the fities and sixties. As far as objects from the fifties and sixties, I seem to be drawn to European design. I like the lighting designs that came out of Italy and France in the fifties and furniture and jewlery from Denmark and Sweden in the sixties. Perhaps this is unexpected coming from an art collector/dealer who has focused on American art for the past 30 years.

TCOP: Well, we all have to follow our instincts--I'm looking forward to seeing what kind of interesting light fixtures you uncover. Thanks for taking the time to share your thoughts with Two Coats readers. Good luck in the new location.
AT: Thanks, Sharon. My pleasure.

So Saturday was an excellent day. I discovered Adam's new gallery and found a copy of One Art: Elizabeth Bishop's Selected Letters Edited by Robert Giroux at the Village Fair's used book table for four bucks.

Related articles:
Elizabeth Bishop was a poet, but also painted.

August 10, 2011

Summer in wartime

Todd James, "TBC," 2011, gouache and graphite on paper, 30 x 22 1/2 inches. Images courtesy Paul Kasmin.

"Pretty on the Inside," an anxiety-provoking group show of figurative work at Paul Kasmin, will make you forget the ennui of contemporary abstraction. Todd James's eye-popping gouaches, fusing cartooning and a seventies pop sensibility, capture the intensity and absurdity of war. Other artists in the show, which is guaranteed to cut through summer torpor and set your nerves on edge, include KAWS, Tony Matelli, Erik Parker, Joyce Pensato, Peter Saul, and Karl Wirsum.
 Todd James, "Have Shoulder Rocket Will Travel," 2011, gouache and graphite on paper, 15 x 11 1/2 inches

Todd James, "One Two Three," 2011, gouache and graphite on paper, 30 x 22 1/2 inches
 Todd James, "Purple Jungle," 2011, gouache and graphite on paper, 22 1/2 x 15 inches
 
Todd James, "Long Distance Service," 2011, gouache and graphite on paper, 22 1/2 x 15 inches
 
"Pretty on the Inside," organized by Erik Parker and KAWS. Paul Kasmin, New York, NY. Through August 19, 2011. Artists include Todd James, KAWS, Tony Matelli, Erik Parker, Joyce Pensato, Peter Saul, and Karl Wirsum.

August 5, 2011

Double feature: Existential questions

Rafael Grassi, "Combattant," 2011, oil on magazine paper

I like the way the artists in "reCovered," a collage show at Frosch and Portmann, fool around with the the human figure. They cover heads with oozy paint, paste over the faces with shapes clipped from magazines, cut the people out of family snapshots, crop and group tiny details, and insert the figures in unlikely situations. Ultimately, this playful exhibition reinforces the notion that to be human is to be an enigma, unknowable even to ourselves.

After checking out "reCovered," go see "Another Earth" a mesmerizing indie sci-fi film that also addresses compelling existential questions. A second earth, Earth Two, populated with a set of people exactly the same as those on our original Earth, appears on our planet's horizon. The film, presenting an idea somewhat similar to that of the alternate world on the TV show Fringe, poetically explores the sometimes intolerable pain of regret and loneliness.

"reCovered" and "Another Earth"  will both give you something to think about while you're lying on the beach (or on your way to work).

Jessie Henson, "First House Series - Living Room III," 2006-09, ink jet print, 13 x 13"

Thomas Lowe, "Every Hole is a Goal," 2011, color pencil, marker pen, collage on paper, 30 x 22"

Eva Lake, "Target 48 (Jean)," 2009, collage, 17.5 x 17.5"

Garrett Pruter, "Daisy," 2011, acrylic and collage on magazine, 10 x 8"

"reCovered: Rafael Grassi, Jessie Henson, Eva Lake, Thomas Lowe, Garrett Pruter," Frosch and Portmann, New york, NY. Through August 21st, 2011.

August 4, 2011

Press Release of the Day: I am not monogamous, I heart poetry

Scooter Laforge, "Wolf Spider with Cigar and 4 German Shepherds," 2011, oil on canvas; 32 x 40”

 Bobbie Oliver, "Untitled," 2009, acrylic on canvas,  60 x 72"

The eclectic group show at Feature, which is up through tomorrow, has plenty of interesting paintings and I particularly like the rambling press release. Click through the images on their website to see all the artists in the show.
from fall 05 to fall 06 i went to a shrink to help figure my way thru some anxiety i was experiencing. the two things from that shrinking that i continue to reflect upon are process resistance / outcome resistance and, from a long-winded rambling about my range of sexual interests, the amusing awareness of a parallel between that and my gallery’s exhibition program.

i love a particularly wide range of artists, it’s ever increasing. some i’ve been engaged with for many years, some are more recent loves. since i’m not physically able to represent all of them, this exhibition is an instance where i push most of my regulars aside and widen the discussion. opening up seems particularly relevant as the system has a way of shutting out the many in favor of the few.

while we move even further into this age of information, poetry becomes an increasingly important way to help create balance. the limitations of the brain are becoming clearer, intuition and feelings offer other ways to progress. let the body be the barometer.
"I am not monogamous, I heart poetry," Feature, New York, NY. Through August 5, 2011.

 

August 3, 2011

Exchanging studio visits with Kadar Brock

A few weeks ago, Kadar Brock and I exchanged studio visits. I alluded to the meaning inherent in how an object is made and how materials are used, and Kadar explained some of the ideas that infuse his work, like magic and Eastern philosophy.

On the shelf beneath Kadar's paint table is a pile of paint that he scraped off the heavily impostoed paintings which were on display at Exit Art last year.

After he scrapes the paint off, Kadar sands the surface with a power sander, sometime gouging holes in the canvas, then adds thin layers of paint to the smooth surface. He recently painted the studio wall purple to see how it would look through the holes.


This is work in progress. Unstretched canvases, scraped and sanded the surfaces, with different colors applied, which he will sand some more. What will happen when Kadar runs out of old paintings to scrape down. Will making work specifically to scrape down turn the authentic process into a copy of the original action? If meaning resides in process, what would this strategy signify? Discuss.
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"What I enjoyed most about the visits was a decided focus on our states as viewers with each other's work, which pushed us to talk about effect and intention more than anything else," Kadar wrote in an email after our visits. "So we talked about time, failure, states of contemplation and meditation, and the physical processes that prompted these mental-emotional responses....You use a language of mistreated basic techniques to open a subjective expression of the contemplative, while I use a rigorous, albeit open, ritual of erasure to the same end. Both have to do with a deconstruction of painting, ... and both, I think, give the viewer something they can chill out and empathize with."

After spending a couple hours together, it became clear  that Kadar and I talk about our work differently. He's more likely to talk head-on about what his work means, whereas I'd rather let viewers tease out the meaning on their own. Nonetheless, we found plenty of common ground in our approaches to painting itself.  

In my studio: silver pigment and binder on unstretched linen.

 A grouping of small, haphazardly stretched paintings that appropriate techniques from sophomore painting class.  A grouping of small stretched paintings that appropriate haphazard stretching techniques from sophomore painting class


August 2, 2011

Video: Studying with Hans Hofmann in Provincetown



In preparation for "The Tides of Provincetown: Pivotal Years in America’s Oldest Continuous Art Colony 1899-2011" The New Britain Museum compiled a link list of online interactives and research materials. If you've ever wondered what it was like to take classes with legendary art teacher Hans Hofmann in Provincetown, check out this video which was included on their list. I'm looking forward to seeing the exhibition, which focuses on Provincetown's legacy as an art colony and includes over 100 artists from Charles W. Hawthorne's founding of the Cape Cod School of Art in 1899 to the present day. Apparently it's the most comprehensive survey of the art colony completed in over 40 years. I'll put up a list of participating artists shortly.

Reviewed in The Boston Globe.

"The Tides of Provincetown: Pivotal Years in America's Oldest Continuous Art Colony 1899-2011," The New Britain Museum of American Art, New Britain, CT. Through Oct. 16, 2011,