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Elizabeth Gage The Eagle PinElizabeth Gage, The Eagle Pin, 1994, Bird - rose cut diamonds, mixed enamel, pearls, sapphires, The Elizabeth Gage Archive Collection

The Enchanting Jewels of Elizabeth Gage
Apr. 24–July 26, 2015

Opening Reception
5:00-7:30 p.m., Friday, Apr. 24
4 p.m. Lecture by Elizabeth Gage
The New Britain Museum of American Art is excited to announce its first ever exhibition to examine contemporary jewelry as an art form.

The exhibition, The Enchanting Jewels of Elizabeth Gage, will showcase approximately 250 pieces of fine jewelry, spanning the 50 years of Elizabeth Gage’s superb craftsmanship and bold design.

Truly an artist who uses jewels and metal instead of paint, she is widely considered as one of today’s most influential jewelry artists and designers. Elizabeth takes her inspiration from a wide range of influences including architecture, animals, art, and nature including a strong inspiration from the English garden.

Her starting point is always the stone or artifact, whether a precious jewel, an exquisite fossil, or a historical treasure. Elizabeth allows the item itself to guide her creativity, using her imagination and skill to bring out its full potential in color and design.

Each item in the exhibition has been hand-picked by Elizabeth Gage and includes works from The Elizabeth Gage Archive Collection as well the private collections of clients from around the world, making this a not-to-be-missed opportunity to see the full range of Elizabeth Gage’s unique creativity and craftsmanship.

This exhibition is supported by the Kathryn Cox Endowment Fund for Special Exhibitions.

karl lund his lasers ripped through tentacle flesh like butterKarl Lund, His Lasers Ripped Through Tentacle Flesh Like Butter, detail, 2014, Acrylic paint and paint marker on Masonite, 48 x 96 in., Collection of the artist

NEW/NOW: Karl Lund
Saturday, Feb. 28–Sunday, May 31, 2015

Opening Reception
2-3:30 pm, Sunday, Mar. 1, 2015
2:30 p.m. Artist Remarks

Lund’s exhibition, Angry Robots Liquefied My Brain, features narrative paintings that depict a world where robots fight giant squids and exterminate countless enemies with powerful laser beams.

Lund’s early career as a stop-motion animator often involved the process of creating unique characters for animated short films. Character design is still a passion that has carried over into his paintings. Each painting features an angry robot involved in a battle. In some works, the viewer can see the enemy they are fighting while in others the action takes place beyond the picture plane and one is left to imagine the charred remains of whatever the robot has annihilated. Lund’s earliest influences for his drawings and animations were comics, science fiction, and fantasy books of the 1970s. It is easy to recognize these influences as well as aspects of animation in his work. These brightly colored, action-packed paintings are charged with energy and appear to almost jump off the page.

Early on, Lund was encouraged to create. His mother, also an artist, would let him into her home studio where he would draw and paint as well as fashion works out of cardboard and random odds and ends. “Most of my work originates out of a spark of an idea that I then roll over in my mind. Once I sketch it on paper or my iPad, it starts to grow and develop,” Lund explains. “My goal is to tell intriguing stories that are visually and thematically dynamic. I want to capture worlds and events that currently only exist in theory or within the possibility of science fiction.”

Jill Reynolds and Daniel Spitzer, NOR'EASTER, 2015, Blown glass and assemblage, gift of Hannover Life Reassurance Company of America, and GLL Real Estate Partners GmbH.

Friday, September 20, 2015

Opening Reception
9:30-11 a.m.,
Monday, March 2, 2015

On March 2, a swirling storm system will hover over the New Britain Museum of American Art’s Café on the Park. Created by artists Jill Reynolds and Daniel Spitzer, NOR’EASTER is a permanent installation that represents the weather phenomenon specific to the northern Atlantic coast—a Nor’easter. Approximately 250 glass pieces define the shape of an iconic nor'easter in three ways: the darker denser storm center, the surrounding lighter-colored concentric isobars of barometric pressure, and the droplets of precipitation.

Originally, the installation was modeled for the lobby space of a modernist skyscraper in downtown Pittsburgh. There, 1300 glass droplets were used to create a 160-foot long sculptural version of the city's three iconic rivers and titled Rivers of Glass: Diminuendo and Crescendo in Blue. Similar to the way in which liquid takes the shape of its container, Nor’easter adapted its original shape to its new location and scale. It has been reconfigured to fit the shape and natural environment of the Museum. Coincidentally, during the two weeks that the installation was being designed two nor'easters were forecast for the New Britain area.

The NBMAA would especially like to thank Mr. Roland Vogel, CFO of Hannover Re Group, Hannover Life Reassurance Company of America, and GLL Real Estate Partners GmbH for donating the installation to the NBMAA.

Catherine Ross still from Laugh TrackA still from Catherine Ross's Laugh Track.

New Media: Catherine Ross: Laugh Track
Saturday, Feb. 14–Sunday, August 15, 2015

Opening Reception
5:30-7 p.m., Thursday, Mar. 12, 2015
6 p.m. Artist Remarks

New Media artist Catherine Ross frames instances on video that often go unnoticed in their original context. Isolating the movements of humans and/or objects, her videos create new sequences that reveal an inseparable relationship between motion and sound. In Laugh Track (2013), she recontectualizes film clips of both men and women laughing. The result is a mini overture in which laughter reveals an inherent awkwardness, a humor that echoes our own vulnerabilities.

Catherine Ross's video works have been presented in exhibitions and festivals internationally, including venues in Brazil, Finland, France, Ireland, England, Canada and the United States. She was award” at the 2006 Darklight Festival (Dublin, Ireland).

Otis Kaye, My Cup Runneth Over, 1950s, Oil on canvas mounted on board, 39 x 29¾ in., Private Collection, Illinois

Otis Kaye: Money, Mystery, and Mastery
Saturday, Jan. 17–Sunday, May 10, 2015

Opening Reception
2-3:30 p.m., Sunday, Jan. 18, 2015
Remarks 2:30 p.m.

The exhibition features thirty-four works that display a mastery of the highly realistic, trompe l’oeil technique in curious compositions of currency, letters, and other symbolic items that make reference to political, economic and social issues facing America, and Otis Kaye personally, during the first half of the twentieth-century. More puzzling than Kaye’s work, which is steeped in mystery and symbolism, is the enigma that surrounds the artist himself. The record of Kaye’s life is nearly non-existent. The artist did not exhibit or sell his work during his lifetime, but gave his art to close family and friends. Through this exhibition, our visitors will have the opportunity to investigate this intriguing artist and help answer some of the remaining questions about his life and work.

The works featured in this retrospective are some of Kaye’s finest, generously loaned from various private collections and the Otis Kaye Estate and Trust. The Museum is thankful to the many private collectors, including Ron Cordover, Walter and Lucille Rubin, Richard Manoogian, Frank Hevrdejs, the Board of Governors of the Federal Reserve System, and the Sheldon Museum, University of Nebraska for their loans to this exhibition. In addition, Ron Cordover’s generous contribution through the Cordover Family Foundation has allowed us to publish the first monograph on Kaye with contributions by James M. Bradburne, Mark D. Mitchell, and Geraldine Banks, which are included in the fully illustrated, 188-page catalogue, Otis Kaye: Money, Mastery, and Mystery. Additional funding has been received from the David T. Langrock Foundation, which has supported several of the New Britain Museum of American Art’s important scholarly monographs.

Beth Lipman, Aspects of (American) Life
(illustration 2)

Beth Lipman, Aspects of (American) Life
Wednesday, May 14, 2:30 p.m.

On view now! Beth Lipman's Aspects of (American) Life. The latest addition to the Museum's Appropriation & Inspiration series, this installation relates directly to Thomas Hart Benton's epic murals The Art of Life in America. Borrowing objects depicted in the murals, Lipman creates a monumental three-dimensional still-life sculpture from clear glass as a meditation on the good fortunes of wealth and prosperity as well as the misfortunes that ensue from their abuse.

Soo Sunny Park Concept

Soo Sunny Park
Opening Reception
2-3:30 p.m., Sunday, Mar. 9, 2014

The Museum is delighted to announce plans to unveil the third site-specific installation for February 2014 to animate the LeWitt Family Staircase where undulating, effervescent abstract forms seemingly float above the staircase landing. The artist, Soo Sunny Park, is known for creating otherworldly, immersive installations that transform their environments into seas of dancing light, reflection and shadow. Her proposal for the LeWitt Family Staircase is no exception.

As the artist explains, “The space will be filled with sinuous, large, sprawling structures on two opposing walls (units composed of weaving of metal grid and clear, iridescent, “edge glowing” Plexi glass), which transmit, reflect, and refract light while the painted dark walls of the gallery are enclosed with images that echo the shadows and reflections of the gleaming sculpture. The images are articulated with charcoal and graphite.” Changing light conditions will reveal different facets of the sculpture, so that during different times of day it will be transformed from translucent and clear to colorful and prismatic. The installation will harness daylight and artificial light as mediums with which to create, blurring the line between the physical drawing and the light drawing.

Born in Seoul, South Korea, Soo Sunny Park received her BFA in painting and sculpture from Columbus College of Art & Design in Columbus, Ohio and a MFA in sculpture from Cranbrook Academy of Art in Bloomfield Hills, Michigan. Park is a recipient of the Joan Mitchell Foundation MFA Grant; Grand Prize winner of the 19th Annual Michigan Fine Arts Competition; The Helen Foster Barnett Prize, National Academy Museum, New York; Skowhegan School of Painting & Sculpture residency, Skowhegan, Maine; Cité Internationale des Arts studio residency, Paris, France, and the Rockefeller Foundation Bellagio Center Arts & Literary Arts Residency, Bellagio, Italy.

Her most recent installations are Capturing Resonance (2011–12), created with composer Spencer Topel for the deCordova Sculpture Park and Museum in Lincoln, Massachusetts, and Unwoven Light (2013) for Rice Gallery in Houston, Texas. Park lives and works in Hanover, New Hampshire, where she is Associate Professor of Studio Art at Dartmouth College.




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