There’s nothing that compares with fall in Vermont. We have been spoiled with a couple of lovely, bright and crisp days this week, making the drive to the Shelburne Museum to view the ‘Eyes on the Land’ exhibit all the more enjoyable.
If you live in the area, you will want to be sure to add this show to your calendar — and happily, you have until January 3rd to do so. Briefly, the exhibit contains the creative responses of 13 Vermont artists who were invited to participate by the Vermont Land Trust. Each artist was paired with a conserved parcel of land within the state, and given a year to complete their work.
In combing over the artists’ statements it is apparent that, although working independently from each other, many of them were struck by the divisions and boundaries they found during their year of study.
Last Year’s Corn ©2015 Susan Abbott
Susan Abbott states that she concentrated on the “intersection of man-made and natural” in her paintings created at the Johnson Farm.
Winter Edge II ©2015 Neil Riley
“The boundaries between many of the meadows and the woods…” became the subject of Neil Riley’s oils, painted at the Virginia Stranahan Memorial Town Forest in Marshfield.
Butternut Mountain Farm, Sugarbush at Twilight, Johnson Farm ©2015 Caleb Kenna
And Caleb Kenna’s photographs explore the dichotomy between the traditional “time-honored old-fashioned way” of sugaring at the Russell Farm in Hinesburg and the “very modern” operation that utilizes state of the art equipment at Butternut Mountain Farm sugarhouse in Johnson.
Tenalach ©2015 Cameron Davis Davis notes in her statement “Tenalach is “Old Irish for a deep connection with the land, air and water that allows one to literally hear the earth sing – John O’Donahue”. The hard cider on the table is made with Champlain Orchards’ apples.
But considering borderlines is just one point of departure while viewing; you may find another approach that resonates more with you. The work is expansive and diverse, including video, collage, painting, conceptual art, environmental sculpture and photography. And, it is spaced throughout the gallery such that it doesn’t feel cramped. You can immerse yourself without being distracted by nearby pieces — a quality I find lacking in many shows.
I chatted briefly with the gallery attendant before leaving and because I was so enthralled, asked about the general response, fully expecting a glowing report. I was shocked when he said that it was about 50/50, that there were plenty of folks who had been disappointed because they were expecting “real art”! Really?!
Angus Baldwin, Vermont Farmer (paper collage) in front of Three Crows Farm, Jeffersonville, Vermont (cotton, sewn) ©2015 Bonnie Acker
While beauty may be in the eye of the beholder, the key to art and its gift to viewers is an opportunity to think and observe with new eyes. I can’t think of a better way to further awareness of our collective responsibility to the land we are only borrowing than to allow 13 Vermont artists free reign to connect and respond with the precious terrain of this state in their individual ways. The idea behind the show has, as the promotional literature says, produced “a full harvest of artworks in a variety of styles, techniques and processes”. What could be more “real” than that?
Participating artists: Susan Abbott, Bonnie Acker, Brian Collier, Cameron Davis, Charlie Hunter, Karolina Kawiaka, Caleb Kenna, Mark Nielsen, Neil Riley, Gowri Savoor, Dan Snow, John Willis, Matan Rubinstein, Tyler Wilkinson-Ray
“A full harvest of artworks in a variety of styles, techniques and processes.” Amen! And indeed, what a wonderful way to offer twelve diverse creative approaches expressing the love of our beautiful Vermont.
I continue to marvel at your regularity in offering a weekly blog as well as your thoughtful insights that provide something creatively meaningful week after week. Thank you!
Thanks for continuing to check in David – and for the kind words. Writing regularly can be a challenge but I also find it a tremendously fruitful exercise.
I went to this exhibit the other day and was most fascinated by the photographs in strips (I don’t remember artist’s name).. and Bonnie Acker’s bowl of offerings, which I spent a long time going thru and selecting from.. The little shards, or pieces somehow form a picture that has deep meaning.
I have a couple of photos which I’ll send (I don’t see that I can post them here), but I was inspired to use these ideas in my own art journey book.
Brian Collier is the artist who made the pieces merging photographic strips. I liked them too.
Thanks for sending the photos of how you ran with the way they inspired you; sorry there wasn’t a way for you to upload here to share.
Loved seeing the exhibit through your lens, also, your links made it a breeze finding additional info on the participating artists.
….Hey, I got to see a lovely show without stepping out of my Pa home…. Thanks for the tour Betsy!
Ah — the advantages of the internet! I’m curious which, if any, of the artist caught your astute eye Csilla.
A wonderful commentary on the show. You concisely convey the essence of the show and beautifully summarize the artists intent. I love reading how you pull the material together and create a superb critique of the show.
Thanks Dianne – it made for a great art date together, didn’t it? I’m glad we had time to really absorb the work.
You make me very jealous. What a marvelous idea! It has been decades since I have been to the museum and I wish that I could go for this particular show. I shall settle for your review.
I’m glad you enjoyed my brief summary – thanks for commenting. The new Pizzagalli Center at the Shelburne is really worth a visit if and when you get a chance!