|Laurie Kaplowitz’s “Dragonfly Mask’’ (left) and Vico Fabbris’s “Elipsicum Rosea’’ are in the exhibition.|
Art shown in new Hingham space
The South Shore Art Center is launching a fresh exhibition in a new art space called the Shipyard Gallery.
In the Hingham Shipyard, a waterfront development of shops, residences, and office space at the former shipyard site, the gallery was offered to the nonprofit Cohasset-based art center rent-free. The center raised money for start-up costs, provided staff, and began using the 2,600-square-foot space for art classes and gallery shows.
The show opening there Wednesday, called “MCC Fellows,’’ includes works by five visual artists who have won Massachusetts Cultural Council Artist Fellowships — state-funded financial awards made to recognize artistic excellence and support the fellows’ further development. A selection of work by MCC fellows appears on the Cultural Council website (www.massculturalcouncil.org/gallery.asp), said Sarah Hannan, the South Shore Art Center’s executive director, who chose the artists and requested works for the show.
Not only do the fellowships recognize exceptional work by the state’s artists, they also “provide an intangible benefit — recognition and validation of artists’ work by the broader arts community,’’ Hannan said.
Works chosen for the show include paintings and photographs stimulated by travel, culture, and landscapes both familiar and imaginary by the five Massachusetts painters and photographers, including Anne Neely, who teaches art at Milton Academy.
Neely’s contributions include the painting “Waterlines,’’ a colorful work marked by strong vertical and horizontal lines. “Many of these works were created in Maine and pay homage to known water sources such as oceans, aquifers, and lakes. I try equally to express the lost stillness of place,’’ Neely said.
The “fanciful botanical paintings’’ of Vico Fabbris seem to reinvent the world of flowers, Hannan said. “He gives them fake, remarkable names’’ such as “Elipsicum Rosea,’’ a bright red flower suggestive of an orchid.
A senior lecturer at New England School of Art and Design, Suffolk University, Fabbris described his work as “imaginary plants which existed but were never really seen.’’
Writing in “Art Forum,’’ Diane Calder said his images appear to be part of “a vast world without end that revolves around a plant-flower; and it’s all born by chance.’’
Joel Janowitz, whose work is in the Whitney Museum of American Art and Harvard University’s Fogg Museum among others, is exhibiting three paintings based on a trip he took to Italy’s Piedmont region two years ago.
“My source subject matter was the region’s vineyards seen from the tops of Piedmont’s hills,’’ he said. “The Piedmont hills seem built from the rhythms of endless fields bordered by linear tractor paths and row upon row of vineyards quilted together in all directions.’’ Works such as “Gathering,’’ in the show, were based on watercolors painted on the site.
Globe reviewer Cate McQuaid said Janowitz’s work “evokes what the eye lights on and rushes past, but in stopping that action he lets us dwell in the lushness of what we might have ignored in real life.’’
Laurie Kaplowitz is contributing three works on the rituals of personal adornment created after a sabbatical to southern India two years ago. “Traveling in remote parts of the world has allowed me to witness people going through the same daily rituals of applying paint, paste, and mud to their faces, bedecking themselves with vegetation, animal bones, and feathers’’ and in some cases piercing, tattooing, and scarification, she said.
She sees a comparison to Western society. “Our daily rituals are no different — applying lipstick, grooming our hair, and adorning ourselves with jewelry — we take our place in this parade of humanity,’’ she said.
Kaplowitz, of Boston, teaches painting at the University of Massachusetts Dartmouth and contributed “Pendant’’ (a figure with a bird necklace), “Faun,’’ and “Dragonfly Mask.’’
Photographer Chris Faust, who teaches at Bunker Hill Community College, contributed images such as “Megan on the Flats,’’ which depicts designs left by tides and waves on the sand flats of a broad sandy beach typical of the state. Faust said he’s fascinated with “cultural landscape. The way people use private and public landscapes reflects differences in local cultures and marks history.’’
A case in point, his images will be on view at a site that was once a shipyard.
Robert Knox can be reached at firstname.lastname@example.org.