Artist Information:
Gail Jerauld Bos
Gail Bos is an artist who has worked on many installations over the years. Usually
the installations with strong political focus are set up on street corners and at
random sites throughout the city. Other installations are developed for shows
held at the historic Footlight Club in Jamaica Plain, the Massachusetts
Statehouse Doric Hall and the Cambridge Art Association. Gail Bos, in
conjunction with The Museum of the National Center for Afro-American Artists,
does early education art programs in Boston Public Schools. Her studio is
located at: 52 Green St Jamaica Plain gailbos@comcast.net
Website: wwwgailbos.com
Mary Dewart
Mary Dewart is a landscape designer and climate activist. She has taught
numerous design workshops including Creating Sacred Space in Your Garden
and Your Life and initiated and produced a wide ranging series of events and
displays for all ages entitled Brookline Climate Week, a community call to climate
education and action.
Linda Hoffman
Linda Hoffman has been part of the New England artist community since the
early 1980’s. Her work is in the collections of Harvard University, the Boston
Public Library, the Pierpont Morgan Library, NY, Hechinger Tool Museum, DC,
the Acton Arboretum, as well as many private collections. This spring she will
install, Tree Harp, a large bronze sculpture commission for the Town of Littleton,
New Hampshire. In the summer of 2001 she moved to Harvard, Massachusetts,
and began work to bring back an abandoned orchard. In 2006, Old Frog Pond
Farm became the first certified organic pick your orchard in the state. Hoffman
and her partner, Blase Provitola, host community, art, and agriculture events at
the farm throughout the year, including the annual outdoor sculpture
exhibit, Around the Pond and through the Woods during apple picking season.
Susan Israel
In 2008 I decided that I wanted to do something to improve the environment
that would have an impact beyond what I could do practicing architecture, as I
had been for my entire career. What would motivate other people to do more as
well? Something fun and visible. What was preventing people from doing more?
Fear, and lack of belief that their actions matter. So I created the Energy Necklace
Project to connect a community that fosters awareness and action about
improving the health of our environment using art. Although my connection to
art has been start and stop over my life, I always return to it. Energy Necklace
Exhibitions and Rising Tides are my two major projects currently. I also showed
my own work in six exhibitions around Massachusetts in 2013, including several
collaborations with Peter Lipsitt. An Energy Necklace Exhibition series will be at
the Emerald Necklace in Boston starting Fall 2014.
The Energy Necklace Project uses art and workshops to teach sustainability,
innovation and collaboration in businesses, communities and schools. We
connect diverse communities in a dialogue about sustainability through the
vehicle of public art and workshops and teach the skills of collaboration,
leadership and creative thinking which are needed to innovate solutions. Through
the Energy Necklace Project people become empowered to find solutions to
overwhelming problems, and become connected to a larger community of
solution seekers.
Milan Klic
Mine is a story of an immigrant, cultural fusion, ongoing, never complete. I was
born and educated in former Czechoslovakia, today’s Czech Republic. At that
time the country was a part of the communist block and all aspects of culture,
visual arts in particular, were subject to political dogma and tough
censorship. My natural inclination towards sculpture seemed unrealistic in such
environment, desires had to be put aside, postponed, silenced and reduced to
dreams. I chose Natural Sciences (math, computer science) as a practical
survivor’s way. I graduated in 1974 from Palacky University, Olomouc with
MS and began my career as computer programmer.
As happens with totalitarian regimes, oppression spawns underground
subculture where individuals live and create in seclusion, hiding from the society
rather than seeking meaningful communication with others, except those who are
in similar predicament – “internal emigrants”. But, dreams are weaving their
fabric in their realm, spontaneously, beyond rational and practical
considerations. As a way of spiritual survival, I was seeking expression in visual
arts, first drawing and terra-cotta sculptures, than wood-carved, figurative
ones. Most of the early figures are now in various private collections in Europe,
others here
in US, reminders of a period of still evolving style. Several exhibitions in the old
country were recognized and appreciated mostly by people tied to the subculture
by similar inner gravity. The conditions in former communist regime eventually
led to emigration in 1985.
Exposure to highly technological, concept-driven civilization manifested itself in
transformed perception, changed themes, materials used, and aesthetic
values. After the “Velvet revolution” in Czechoslovakia, when we all sighed with
some relief, my sculptural expression was of rather intimate, lyrical nature. I
gained a lot when I studied sculpture at Brandeis University, Waltham, MA in
1989-1992. Relatively peaceful 1990’s produced array of spatial metaphors, still
readable in language of classical abstract modernism, bearing the seal of
European heritage. But things are not going “velvet” in contemporary world;
recent years profoundly changed our ways of thinking about the world, anxieties
yet unknown are now common articles of everyday experience. I feel it as my
inner choice to respond to this traumatized social and cultural milieu.
Awards
2001 - Pollock-Krasner grant Jan.-Dec. 2001
2003 – Cambridge Art Association, MA – award for best sculpture at annual
show
2004 - Cambridge Art Association, MA - director’s choice award for sculpture
2004 - Cambridge Art Association, MA – “Blue” , juried exhibition, “Best of
Show” award
3 Bradford Terrace #3, Brookline MA, 02446 Phone 617-731-6240 Email: mklic@email.com
Peter Kronberg
I am a business attorney who also makes sculpture. I live and work in Newton. I
studied sculpture in school so I am not entirely self-taught. I have shown and sold
my art over the years and I could provide you with a list of where and who but it
isn’t terribly impressive and will bore you.
Peter Lipsitt
Peter Lipsitt has shown outdoor sculpture at Harbor Arts East Boston
(current); Boston City Hall (current); Old Frog Pd., Harvard, MA (w/ Susan
Israel); Chesterwood in Stockbridge, MA; Lars Andersen Park, Brookline,
curated by Nick Capasso; Triangle Arts Association, founded by Anthony Caro in
Pine Plains, NY; Lewis Wharf, Boston; Tiverton, RI; Wheaton College, Norton,
MA; Wheelock College, Boston, MA; Sculpture Key West, Key West, FL; Rose
Museum, Brandeis University, Waltham, MA; Art Complex Museum, Duxbury,
MA. His work is in the collections of the Rose Art Museum, Fogg Art Musuem at
Harvard University, Fort Lauderdale Museum, DeCordova Museum, Hamilton
College, Vassar College, and in many private collections. Recently he completed a
commission for a large outdoor steel work in New York state.
He has permanent large-scale public sculpture at Bajko Skating Rink in Hyde
Park, MA, University Place, Cambridge, and has outdoor work on extended loan
in the outdoor atrium at Boston City Hall.
Peter Lipsitt, raised in an ocean-front Massachusetts village, is a graduate of
Brandeis University (BA) and Yale University School of Art (BFA, MFA-1965). He
also attended the Skowhegan School program. In the 1960s he taught in the US
Peace Corps in Ethiopia. At various times he has been a professor at Brandeis,
Wheaton College, Emmanuel College, and Wentworth Institute in
sculpture,drawing and/or design.
As a founding member of Boston Sculptors Gallery, he has presented many solo
exhibitions in its successive gallery locations. Fuller Art Museum, Wheaton
College, Brown University, and Mather House, Harvard University have each
given him solo exhibitions.
Lipsitt works in a variety of cast and assembled materials, most recently cement,
steel, and wood in combination, having also created bronze and aluminum works
in unique casts. He is the recipient of a generous grant in 2007 from Artist
Resource Trust (A.R.T.), a fund of Berkshire Taconic Community Foundation,
faculty grants from Wheaton College, and other grants from the Brookline Arts
Council. His longtime studio is in the Piano Factory, South End, Boston, MA.
Margot Stage
Margot Stage was introduced to fabric art in 2001. Previously, she worked as a
National Public Radio producer and host, primarily at WGBH, and as a freelance
writer. Stage’s work in the visual arts was immediately accepted into juried
exhibitions and has been shown extensively. Recently, she has expanded into
three-dimensional work and installations.
Her work has been selected for exhibition at The Carnegie Center for Art &
History, Indiana; The International Quilt Festival, Texas; Anderson Chase
Gallery and Main Street Gallery, New York. She has been accepted in the
Northeast Prize Show, RED and BLUE at the Cambridge Art Association, and has
shown her work at the Arsenal Center for the Arts, Fruitlands Museum, Fitchburg
Art Museum, Arnold Arboretum, Whistler House Museum of Art, Brickbottom
Gallery, Lesley University, Bunker Hill Community College, Indian Hill Music
Center, Moose Hill Audubon Gallery, Concord Art Association, The Center for Art
in Natick, Fiber Arts Center, Gallery 119, and Brush Art Gallery. Her audio art
piece “Dune Shack Sound Track” was exhibited at The Schoolhouse Center for the
Arts in Provincetown. Her monoprints were shown at the DeCordova Museum
School Gallery.
Stage’s work has appeared in Fiber Arts Magazine, The Boston Globe, The Lowell
Sun, Wild Apples, The Middlesex Beat, The Ithaca Journal, The Boston Phoenix,
and The Westford Eagle. Her work is held in the collections of Enterprise Bank,
The Jeanne D’Arc Credit Union and by many private individuals. She works out
of the Western Avenue Studios in Lowell.
Gabrielle White
Gabrielle White is a self-taught artist who has been sculpting and constructing art
from repurposed material since childhood. She was inspired by her grandfather
whose basement workshop held a magical array of bent and rusted objects
waiting for a new life. Time spent in the woods, rivers and mountains gave her a
child’s eye and heart of an explorer. Travels to Nepal opened her eyes to the
spiritual realm and the connectedness of all things.
She is always experimenting with new ways to express a story through the
creative recycling of items found in scrap metal piles, thrift shops, demolition
sites and old barns. Her sculpture uses bicycle wheels, cast iron gears, glass, old
tools, wood and stone to communicate our connection to the natural
world. Through her pieces she seeks to create the balance point between/within
the physical and spiritual realms.
Jeanne Williamson
Jeanne Williamson's work can be seen in galleries and museums, and in many
books and magazines. A print of her work is also available at Crate & Barrel
stores.
She has a BFA from Philadelphia College of Art (now the University of the Arts),
where she majored in Fibers/Crafts. In addition to being trained as an artist,
Jeanne has an MSAEd in Art Education from Massachusetts College of Art.
Jeanne is represented by the Gravers Lane Gallery in Philadelphia, PA, and the
deCordova Museum of Art Corporate Art Loan Program in Lincoln, MA. Jeanne
lives in Natick, MA with her husband.
website: http://www.jeannewilliamson.com