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Art exhibit extended

An exhibit of recent paintings by Kathleen Love Mooney titled “Cornwall - Little Compton” has been extended at the Souterrain Gallery of the Wish House in West Cornwall through Feb. 20. The gallery is open Thursday through Sunday from 11 a.m. to 5 p.m. For details, call 860-672-2969 or go to www.souterraingallery.com.

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A Show That Teaches And Delights

Art: ‘Marjory Reid Plus Two: Janet Rickus, Warner Friedman’

Marjory Reid fills her abstract paintings with attitude. You could say the same about her. A teacher of art and art history at The Hotchkiss School in Lake­ville for 14 years (she retired in 2000), she’s a woman of pronounced views formed over years of looking at art and thinking about how it was made.

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Winter in Wassaic

Art

The Wassaic Project is well-known for its summer festival, but it has plenty of events lined up this winter to showcase the arts.
Pamela Council will discuss her work as part of the visiting artist lecture series at Maxon Mills (37 Furnace Bank Road in Wassaic) on Friday, Jan. 6, at 6 p.m. Other planned lectures include Carolyn Sickles on Jan. 23, MaryKate Maher on Jan. 26, Sara Maria Salamone on Feb. 18 and Lacey Fekishazy on Feb. 21.

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Conveying Memory With Mixed Media

Art

It’s a curious exhibit at Argazzi Art in Lakeville, titled “Kings, Genies, Sorcerers and Beggarman.” It’s Debra Bermingham’s distinctive and personal notions about painting and dreams and light and things that go bump in the night. 

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For KK Kozik’s New Work, The Joy Is In The Making

Art

Artist KK Kozik’s show of new work at Darren Winston, Bookseller in Sharon reveals an intimate side of her work a bit less familiar than her large, often dreamlike oil paintings. “KK Kozik: The Gold Rush” features smaller oils on exotic papers, gilded with gold or aluminum leaf.

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Classes, Gifts and Art Shared at Millerton Studio

Art

Art gallery. Classroom. Artisan gift shop. Little Red Bird Studio in Millerton has many identities, and they all share a common theme: Art should be shared.

“I started the studio as a place for everyone to share what they’ve created with the world,” said owner Julianna Kreta, a Sharon resident who has been drawing the shop’s bird logo since she was 4 years old. “The world needs more beauty.”

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Finding Joy Through Teaching

Art

It’s just our nature to take something utilitarian, such as a fired clay pot, and turn it into an absolutely non-utilitarian and splendid work of art.
The stretch between the two is clear in Friends of Fire, a ceramics show at The Hotchkiss School’s Tremaine Gallery featuring Hotchkiss teacher Delores Coan and a number of her onetime students.
One corner in the exhibit (which, along with Coan, was beautifully designed by Greg Lock, co-director of the Tremaine Gallery) features “Livelihood — various works of functional pottery.”

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An Artist’s View: Moving the Work

Art

Saturday morning, Nov. 5, in Kent, you may have heard the rumble of a diesel engine outside the Ober Gallery as a large excavator came to life, lifting a heavy stone sculpture.
Tipping the 20-foot-high piece on its side to wrap it in nylon straps, a small crew held their breath as its full 1,500 pounds slowly left the ground. The capable hands of Vinnie the backhoe operator allowed no harm to come to the piece as he gently set it in the steel bed of a heavy duty trailer. Then, the work began.

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Molding Clay Into Masks

Art

Some masks are meant to conceal, as with bank robbers, say, or dancers at a Venetian ball. People are more daring when their features are obscured. 
Then there are death masks, using casts made of mates or children or historic figures, such as Abraham Lincoln, after they have taken their last breath. (Lincoln actually had a mask made before his assassination, and another was made after, according to Wikipedia.) The Victorians were fond of these masks, it seems. Phrenologists, too. They thought bumps on the head revealed character traits. 

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A Style Evolving Into Abstract

Art

The appeal of Victor Mirabelli’s paintings is immediate. Both impressionistic and abstract, the contrast between white structures — abandoned farm buildings, alone or in groups — and gauzy, feathery landscape draws you into the picture and its possible story. 

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