Laura Tryon Jennings, Coo Coo, oil on canvas, 30 x 30", 2007.

Marshfield painter Laura Tryon Jennings’ bold and colorful aerial views of seemingly simple table settings are more than they first appear. She says, "My paintings represent the complexity and intricacy of life and relationships. Within each piece I use an amalgam of color and composition to depict the wavering tension between tranquility and chaos." Jennings uses the images of coffee cups, cereal bowls and assorted found materials as metaphors, reminding us that we should take time from our hectic pace to "reflect and treasure life’s simplicity, if only for a moment."

Lamont Gallery at Phillips Exeter Academy

Fittings: Works by Cat Chow, Milisa Galazzi, and Ruth Borgenicht

Cat Chow, 36 Chambers, mixed media.

These three artists are inspired by and have an interest in the use of traditional materials, but create works that are decidedly non-traditional. In short, they are each fitting their unique approaches and ideas into their art works.

Using basic materials such as zippers, keys and more, Cat Chow puts a very different spin on these seemingly utilitarian items. Milisa Galazzi’s works focus on the found objects of buttons and sewing needles, and the women who left them behind. And Ruth Borgenicht refers to the chain mail worn under medieval armor in her contemporary ceramic works.

Diane Black, Untitled Portrait, mixed media on paper, 22 x 15 ½", 1999.

Berenberg Gallery is proud to participate in the thirtieth anniversary celebration of Spindleworks. Founded in 1978, Spindleworks is a nonprofit art center for adults with disabilities located in Brunswick, Maine. Over thirty-five artists work in a variety of mediums, including painting and drawing, ceramics and woodworking, weaving and other fiber and fabric arts. In addition, the artists write poetry and stories, make films, and express themselves through acting and other performing arts. Their work has been exhibited widely, and they are well known and respected members of Maine's artistic community. The exhibition features both established and emerging artists from this remarkable program.

Joel Janowitz, Piedmont Quilt, watercolor, 30 x 22 ½", 2008.

From a vast stretch of Northern Italian landscape, to an intimate summer porch hammock, Joel Janowitz explores the expressive connections between oil painting, watercolor, and monotype. He uses the play of shapes and lines, of light, shadow, and color, to investigate the conjunction of visual perception, memory, and consciousness. In each piece, there is a serene sense of compositional balance and spatial order in which silence predominates.

Janowitz has taught at the School of the Museum of Fine Arts in Boston and, since 2003, at Wellesley College. His work is represented by Victoria Munroe Fine Art in Boston.

Elizabeth King; pupil, porcelain, glass eyes, carved wood, and brass; 1987–90. Collection of the Hirshhorn Museum and Sculpture Garden, Washington DC.

This mid-career survey of sculptor Elizabeth King presents sixty-five sculptures, film animations, installations, drawings, and photographs produced since the late 1970s. King’s uncanny self-portraits are meticulously crafted and are often exhibited with stop-frame film animation in installations that blur the boundary between actual and virtual space. Intimate in scale and distinguished by a level of craft that solicits close viewing, this work reflects her interests in early clockwork automata, the history of the mannequin and the puppet, and a host of literature in which inanimate or artificial figures come to life. Organized by the Visual Arts Center of Richmond, VA.

Bruce Herman, Miriam, Virgin Mother: Via Activa (central panel of triptych), oil and alkyd resin with gold and silver leaf on wood, 80 x 150", 2008./span>

Recent paintings by Tanja Butler and Bruce Herman investigating the life and experience of the Virgin Mary—one of the main subjects of traditional sacred art—but also one that has been scorned for the sentimental and often cloying depictions of the past three centuries. In their attempt to refresh this tradition, Butler and Herman have combined contemporary techniques, postmodern theory, and genuine faith in order to make images that are connected to the tradition, yet breaking new ground. Richly colored images and textured surfaces with nuanced symbolism in a contemporary voice, evoke the mysterious story of a virgin mother.

Paul Bowen, Black Disk, wood and ink, 9 x 10 x 4", 2001.

The Winfisky Gallery, located in the Ellison Campus Center, displays traveling exhibits by artists from all over the world, in a variety of media from prints to kinetic sculpture to collage and photography. In addition to visiting artists, the art department hosts an annual faculty works exhibit, a student works exhibit, and the prestigious student honors exhibit at the Winfisky Gallery.

Play Date.

An artist worth paying attention to is a moving target, and the New Hampshire printmakers included in this exhibition are all well worthy of attention. Each was asked to select three prints for this show—one very recent, one from the start of his or her career, and one from in between. The resulting trajectories each document a unique combination of continuity and change: in media, in subject matter, and in technical approaches to composition, color, and texture. Implicitly, each of these trajectories also poses the question, “What is next?” Curated by Parker Potter, Silver Center for the Arts.