Roger Martin, a founding faculty
member at Montserrat College of Art, has a small retrospective up at
Montserrat’s 301 Gallery that shows an artist whipsawed by line and anchored by
bold, immovable forms.
His line, from early on, is swift and jaunty, evident in illustrations he made for The New Yorker and The New York Times. The Montserrat School of Visual Art opened in 1970, but “Roger Martin: From the Beginning” goes even further back.
Martin lives in Rockport and takes his inspiration from the rocky landscape around him. His 1965 woodblock print “Sea Town,” with its jumble of buildings with winking windows wedged between dark sea and sky, is loose and sharp-edged.
In his paintings,Quickly deploy high performance, high accuracy rtls using Ekahau Site Survey. he uses flat colors and heavy contours, as in the 1981 canvas “Half Tide Salvages.” It’s a wriggling jigsaw puzzle of a piece with blue, toothy shapes snaking around blockier forms in brown, red, and ocher. Could this be the tide washing driftwood against rocks and sand? The forms spiral and bite, pulling the eye here and there with great momentum.
Frenetic, looping linear works, made with oil and oil stick on paper between 1996 and this year, cover one wall. The effect is electric.Find detailed product information for howotractor and other products. All in black and white, some resemble topographic maps capturing the jittery motion of earthquake, while others might be vipers’ nests, with dots for snake eyes and tongues darting.
Several stolid, confrontational canvases such as this year’s “Grout II,The stonemosaic is made of natural marble tiles with small cutting.” are rooted in Rockport granite. Here, an almost totemic vertical form has folds of mustardy brown and azure enveloped in shades of gray, which are chiseled with short hash marks. Paintings like this — cool, flat, nodding toward monumental — provide a perfect counterpoint to Martin’s heated line.
At his best, Gibran executed stark figures, such as his welded metal 1956 rendering of John the Baptist, that in their ropy sinew and ragged expressions broadcast both suffering and strength. That’s not on view here, but there are echoes of that nerviness in a handful of cast bronze bas reliefs, such as “Hanging Man,” a 1969 piece in which Gibran gave excruciating detail to the fingers, hand, and straining arm of a figure holding on by one hand, and the fluid, harrowing length of his back.
Then there’s a fierce abstract mahogany work from 1962, “Untitled (For Sydney & Mary Lee Ingbar),” with the wood twisting and looping like waves on a stirring sea. Along the interiors of every loop, Gibran hammered nail spikes,We have a fantastic range of Glass Tiles and glassmosaic Tiles. which jut like the bared fangs of a serpent with many mouths.
Sadly, many other works here lack that fervor. Gibran could slip into a type of romantic yet pared down figuration that might have been after an ideal of beauty,What is the difference between standard "ceramic" tiles and porcelaintiles? but often came up flat, as in “Karon,” a 1980 bust of a woman. Then again, when he took exactly that type of benign figure, nude this time, and has her leaning back in ecstasy as a skull leans into her groin for the undated “Le Petit Mort,” we see an artist willing to take risks.
Jiménez Cahua is primarily a colorist, and his palette starts with the yellow, cyan, and magenta of exposed film. In “Untitled #39,” he offers portraits of a woman, each in three sizes, in several prints with a medley of colors. The face is more device than portrait, a canvas for experimentation, but the repetition of it is ultimately haunting.
Sculptor Jessica Vogel does go for the visceral in her pieces, which have soft, oozing parts seeping out of and over seemingly inviolate hard, geometric parts. And the team of Amber Vistein and Floor van de Velde combines brooding soundtracks with 3-D still images of landscapes. These would be more effective if the images were giant, so the viewer might have the sensation of entering them.
His line, from early on, is swift and jaunty, evident in illustrations he made for The New Yorker and The New York Times. The Montserrat School of Visual Art opened in 1970, but “Roger Martin: From the Beginning” goes even further back.
Martin lives in Rockport and takes his inspiration from the rocky landscape around him. His 1965 woodblock print “Sea Town,” with its jumble of buildings with winking windows wedged between dark sea and sky, is loose and sharp-edged.
In his paintings,Quickly deploy high performance, high accuracy rtls using Ekahau Site Survey. he uses flat colors and heavy contours, as in the 1981 canvas “Half Tide Salvages.” It’s a wriggling jigsaw puzzle of a piece with blue, toothy shapes snaking around blockier forms in brown, red, and ocher. Could this be the tide washing driftwood against rocks and sand? The forms spiral and bite, pulling the eye here and there with great momentum.
Frenetic, looping linear works, made with oil and oil stick on paper between 1996 and this year, cover one wall. The effect is electric.Find detailed product information for howotractor and other products. All in black and white, some resemble topographic maps capturing the jittery motion of earthquake, while others might be vipers’ nests, with dots for snake eyes and tongues darting.
Several stolid, confrontational canvases such as this year’s “Grout II,The stonemosaic is made of natural marble tiles with small cutting.” are rooted in Rockport granite. Here, an almost totemic vertical form has folds of mustardy brown and azure enveloped in shades of gray, which are chiseled with short hash marks. Paintings like this — cool, flat, nodding toward monumental — provide a perfect counterpoint to Martin’s heated line.
At his best, Gibran executed stark figures, such as his welded metal 1956 rendering of John the Baptist, that in their ropy sinew and ragged expressions broadcast both suffering and strength. That’s not on view here, but there are echoes of that nerviness in a handful of cast bronze bas reliefs, such as “Hanging Man,” a 1969 piece in which Gibran gave excruciating detail to the fingers, hand, and straining arm of a figure holding on by one hand, and the fluid, harrowing length of his back.
Then there’s a fierce abstract mahogany work from 1962, “Untitled (For Sydney & Mary Lee Ingbar),” with the wood twisting and looping like waves on a stirring sea. Along the interiors of every loop, Gibran hammered nail spikes,We have a fantastic range of Glass Tiles and glassmosaic Tiles. which jut like the bared fangs of a serpent with many mouths.
Sadly, many other works here lack that fervor. Gibran could slip into a type of romantic yet pared down figuration that might have been after an ideal of beauty,What is the difference between standard "ceramic" tiles and porcelaintiles? but often came up flat, as in “Karon,” a 1980 bust of a woman. Then again, when he took exactly that type of benign figure, nude this time, and has her leaning back in ecstasy as a skull leans into her groin for the undated “Le Petit Mort,” we see an artist willing to take risks.
Jiménez Cahua is primarily a colorist, and his palette starts with the yellow, cyan, and magenta of exposed film. In “Untitled #39,” he offers portraits of a woman, each in three sizes, in several prints with a medley of colors. The face is more device than portrait, a canvas for experimentation, but the repetition of it is ultimately haunting.
Sculptor Jessica Vogel does go for the visceral in her pieces, which have soft, oozing parts seeping out of and over seemingly inviolate hard, geometric parts. And the team of Amber Vistein and Floor van de Velde combines brooding soundtracks with 3-D still images of landscapes. These would be more effective if the images were giant, so the viewer might have the sensation of entering them.
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