Tag Archives: Photography

Inside the Artist’s Studio with Bill Finger


"Self Portrait" 2012

“Self Portrait” 2012

For many years, I worked on various motion picture productions as an Assistant Cameraman. My artwork and the process of it’s creation is very influenced and reflective of that time spent working on movies. Each photograph that I create begins with the construction of a miniature diorama. In a sense, the dioramas are like miniature film sets.

"After Psycho," 2006

“After Psycho,” 2006

"Watch," 2009

“Watch,” 2009

Each photograph begins with an empty work table and a camera on a tripod. The perspective of the camera’s lens is key. Everything is built to that point of view. This process comes in part out of economical necessity as well as limitations brought about by depth of field. When working with a wide angle lens in very close proximity there is often issue of degrees of visual distortion as well as a limited plane of focus. By varying the scale of objects, a deeper sense of depth and space can be created.

The work featured in Dream State comes from two different projects. However, both series play off of and look to ideas of space exploration.


“L.E.M.” 2013

Ground Control evolved out of an NPR interview with a scientist discussing the most economical way to send humans to Mars. The proposal centers around making it a one way trip. The prospect of traveling to Mars while leaving everything and everyone you know behind, was fascinating. Especially since the age parameter that they set, made me a prime candidate. But what stuck with me was the shear number of people asking to volunteer. People with no skill set for space exploration but who truly believe that it is their life calling. That was whose mind I wanted to play within and explore. I wanted to imagine how that obsession for space could manifest itself.

"Floating in a Most Peculiar Way"

“Floating in a Most Peculiar Way,” 2012


“Hot Wheels,” 2012

One of my photographs included in the Dream State exhibit is the title image for Ground Control. It makes reference to a well known NASA photo of Neil Armstrong descending to the surface of the moon. Looking to and referencing images from photo history has been an element that I work with, and has resurfaced in my work many times. I originally began referencing other photos as a Graduate Student at RIT.  Other examples of photographs that I have referenced include Death of a Rebel Sharpshooter by Alexander Gardner as well as, Frederick Church’s snapshot of George Eastman on the deck of the S.S. Gallia. To me, all of my photographs are in part about photography. This is one way that I chose to reflect upon it.


“Eastman I,” 2016



“Eastman II,” 2016


Photo by Frederick Church, 1890.

Photo by Frederick Church, 1890.



“Voyager VI”, 2012

With the second series, Voyager, I continue to use Space as an inspiration and touchstone. Where Ground Control can be brash and border on the fantastical, Voyager is intimate, quiet, and introspective. Focusing on perceptions of the passage of time, Voyager looks to exploration as a quiet and introspective form of drifting. Where Ground Control uses memories of the past to construct the desire for a future in space, Voyager uses memories on a more personal and grounding manner.  Floating and drifting through the landscape, time can seem to slow as space appears to expand. Time becomes more introspective as the explorer turns inward. A sense of longing surfaces and holds the explorer in orbit. It is this ebb and flow of past and present that brings out discoveries for the traveller.


"Voyager IV," 2012

“Voyager IV,” 2012


"Day Passing I," 2016

“Day Passing I,” 2016


Eastman process shot.

Eastman process shot.

More of my work can be viewed at BillFingerPhoto.com as well as on Instagram. You can see the photographs included in this exhibition on Artsy.

Nine of Bill Finger’s photographs can be seen in Dream State, on display through February 16, 2018. The exhibition also features paintings by Matt Duquette (Buffalo, NY), sculpture by Carrianne Hendrickson (Rochester, NY), and paintings by Lin Price (Ithaca, NY)Work from the exhibition can be previewed and purchased online. 

Meet the Artist in Residence: Renee Valenti

Renee Valenti, artist in residence at Main Street Arts during the month of October 2017, will working on a series of abstract paintings and immersing herself in art history books during her residency. We asked Renee a few questions about her artwork and studio practice: 

Renee Valenti

Renee Valenti

Q: Tell us a little bit about your background.
I’m originally from a town right outside of New Haven, CT but I’ve been living in Brooklyn for the greater part of the past fifteen years. I’ve been making visual art for the past ten, after making a switch out of performing art and theater. I decided to make the change and went to Pratt for my undergrad and finished my masters last year from the School of the Art Institute of Chicago’s low-residency program. I feel that I still often draw from storytelling, the theatrical, or cinematic in my work; and I often like to work in series until something is finished for me.

"fuckin, fuck", oil on canvas, 2017

Renee Valenti: “fuckin, fuck”, oil on canvas, 2017

Q: How would you describe your work?
Painting is the largest part of my studio practice and I also do a lot of photography. Most of the time I would take the photos that I was using for my figure paintings, as well. My painting had primarily been figurative or the spaces people occupy, but then last year I started turning toward abstraction. I just couldn’t carry the heaviness in the narratives that were in the paintings from 2015-16 and I also just didn’t have any ideas in my head! I was feeling mentally spent but also just needed to get back into the paint. So one day just started making without the photo imagery. However, then another narrative started emerging for me within these abstract paintings; which still very much have a place of body within them.

My photography has been a continued investigation of portraits of friends, bikers, communities, and empty hotel rooms. I started driving to nearby towns and staying in hotels while living briefly in the mid-west in 2014. As a way to combat the solitude I was experiencing while living there, I started to photograph these spaces—investigating the comfort within transient places devoid of personal memory. Recently, I started a project of landscape photos down Route 66.

Images by Renee Valenti: The Chateau Royale, Lake Geneva,WI (left) Photo 9; (right) Photo 8: ghosts of ashtrays and whiskeys

Image by Renee Valenti: "Gas station, entering New Mexico—off Route 66", digital photo, 2016

Image by Renee Valenti: “Gas station, entering New Mexico—off Route 66″, digital photo, 2016

Q: What is your process for creating a work or art?
That’s a big question and it varies. Sometimes I watch a lot of movies and that inspires me aesthetically; filmmakers like David Lynch, Wong Kar Wai, Fellini, and Pedro Almodóvar. Usually it takes me a minute to do all the background work before beginning a new series. Whether that’s going to the library to do research on a photo project or walking around the city or being or getting into a head space to feel out what the inspiration for the paintings is/are. Sometimes it’s just walking in the woods a lot. I need meditative time for sure. But then once it takes off I can kind of hit the ground running after that until a stop comes and then it maybe things need a minute to refresh.

Q: What is the most useful tool in your studio?
I’m going to say my speakers, or my phone speakers. I always have something on, whether it’s music or a podcast, or talk radio or something. That kind of gets me going or keeps me going. You spend a lot of time alone in your studio too, so it breaks up your own voice or lets me get deeper into it within the making.

Q: What type of music do you listen to? How does music affect your artwork?
Everything from Beethoven to Best Coast to Led Zeppelin, to Santigold. It runs the gamut.

"White Noise", oil on canvas, 2016

“White Noise”, oil on canvas, 2016

Q: Where are your favorite places to see artwork?
Out in the world. I feel like some of the best art is all around us. Then Museums and galleries of course, depending on the show. The one thing about living in New York is that a lot comes through there, so you get to see a lot of great work up close and in person.

Q: What are your goals for this residency?
I plan on working on the series of abstract paintings that have been in process. I’m also planning on just bringing a lot of art history books and digging into those. I’m really looking forward to having a whole month to work there.

"Winter", oil on canvas, 2017

“Winter”, oil on canvas, 2017

Q: What’s next for you?
We’ll see! I’m looking for an exhibition space for these paintings sometime next year and to complete my Route 66 project. That’s the immediate future, art-wise.

Q: Where else can we find you?

Renee is teaching a workshop on Saturday, October 14 from 12 to 3 p.m. at Main Street Arts. Her Paint As Material worksop will examine the versatility of paint with a focus on experimentation within the medium. Sign up on our website to reserve your spot!


Inside the Artist’s Studio with Ian Sherlock

Ian’s artwork is on view in “Alternative Photographic Process”. His work is available for purchase in our Online Shop:

I make photographs, sounds, and drawings centered around the land. I studied at the School of Visual Arts in New York City and Syracuse University in Upstate New York where I earned my BFA in Fine Art Photography. Upon graduating, I worked as a professional printmaker at Lightwork and have recently made the move to further my understanding of “natural” environments by leaving for a job with the Boy Scouts of America in the Green Mountains. I play in a punk band, run for lengths of time that cause my organs to fail, and make art from time to time.


Photography is the medium I work in most for my art.  I am always seeking calmness and stillness and photography aids in the preservation of this quality. It creates tranquility, which is something I appreciate. I photograph primarily in black and white as I like the simplicity of only looking at/for light, shadow, and contrast versus color relationships. Working in greyscale also removes the image from reality even further, as I am not interested in documentation but rather using photographs to describe and evoke feelings, moods, and metaphors.


Most of my images are shot on film as it elevates the medium to the same level of preciousness as the subjects that I am photographing. This process slows me down, makes me think more completely, and allows me to spend more time looking at and interacting with landscapes or subjects versus firing the shutter blindly. Post-image making, film allows me the ability to make prints by hand, in a more intuitive and intimate fashion. Working in the darkroom engages my hands and helps to synchronize mind and body in the same way my other practices like running do.

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Photography’s other strength is that it can exist on paper, as opposed to mediums like sculpture or video. Prints are tangible and can either be considered disposable or precious merely by their presentation. In particular, photo books have an incredible ability to encapsulate a completed work that a photographer is trying to express. This is appealing to me as I like projects that have a definitive conclusion.

A photo book can also evoke a certain sense of preciousness and intimacy. Looking at a book is usually a more private experience and it is on the terms of the viewer.

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My creative interests originated in my early involvement in the punk scene. While the “Do It Yourself” ethics of punk fundamentally aid in all of my endeavors, they are displayed most explicitly in my sound art. I hesitate to consider my sound pieces “music”, but the aggression, tension and vulnerability that is present in my work stems very much from the punk music I grew up immersed in and continue to listen to today. My introduction to sound art has also allowed me to interact with an entirely different audience, as I am able to share this category of my work at concerts with people unfamiliar with or uninterested in contemporary visual art.


Like in my other mediums, interaction with the land is crucial in my sound art. I usually start with an experience in a “natural” environment or use field recordings from a place. I then utilize synthesizers, various re-purposed pedals, contact microphones on objects and cassettes to add an atmosphere that I feel best represents the feelings I have in those spaces that is not necessarily there to record.

I am growing increasingly interested in the relationship between sound and image and how I can better blend the two mediums into a synonymous and singular project.

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I don’t have a studio per say, at least not in a physical form. Much of my time thinking, reflecting, and conceptualizing is done while running. To me, running is very much the same as art making. While I run to come up with ideas to make art about, sometimes the run itself is the action and resolution to those thoughts or feelings. It is a medium of equal importance and possibility as a visual or sonic art. The meditative repetition and direct interaction with the land puts me in a deep inner space where I can reflect and conceptualize. I also race in events called ultra-marathons; which consist of distances that are longer than marathons. When I push myself to these limits, I feel a unique form of vulnerability and explore parts of my own mind that I feel are unreachable otherwise.

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ac13 004

The project I have most recently concluded is called “Dearheart”. “Dearheart” represents my personal fantasies of escapism, and an understanding of our society’s universal fascination with this idea as well. More specifically, I’m interested in the evidence of how this notion of escapism has manifested physically in the landscape itself, transformed in the wake of our endeavors to be transported, and to escape. The land has similar desires to us when it comes to escaping, solitude, and the act of hiding. I believe my consideration of this relationship creates a stronger connection between myself and the spaces I occupy. The process of making these images is an attempt at better understanding this relationship and I hope to translate my efforts to others the best that I am able.

ac13 001

Stop by Main Street Arts to see Ian Sherlock’s artwork in “Alternative Photographic Process” (runs February 25–March 31, 2017). Visit Ian’s website at www.ian-sherlock.com and follow him on Instagram @iansherlockxvx. You can email Ian at iansherlockxvx@gmail.com.

Take a look at our previous Inside the Artist’s Studio blog post by Rochester artist Rachel Cordaro.

Inside the Artist’s Studio with Carl Chiarenza

Representation, as I use the word, does not mean documentary of the natural, social world. It does not refer to specific times and places.  Representation refers to how photographic syntax allows and restricts–how it frames the visual transformation of what is seen from the vantage point of the camera’s lens.

Acropolis Revisited 300, 2010

Acropolis Revisited 300, 2010

I’m interested in how what is in front of my lens comes together into a new object–how the photograph causes a genuinely real but fresh experience which did not exist before its appearance. The word “representation” is about photography’s way of transforming the supposed reality of things, as opposed to photography reproducing or tracing the world. A photograph may be used to represent the unknown, the mysterious, or invisible as much as it may be used to represent the known and visible.  It can be used for both prose and poetry where metaphors may dominate the viewer’s response and second thoughts may override the immediate response.

A photograph presents both artist and viewer with a challenge, because we want to know the subject depicted–as if the photograph were not there.  For over 165 years an extraordinary number of forces have led us to believe photographs are windows on reality, even when reason tells us otherwise.  We share photos of our children and say “this is my daughter”, as if the photograph were not there. We fail to recognize that while a photograph is different from other kinds of pictures it is still a picture. Therefore, it is characteristically different from what was in front of the lens.

Untitled 297, 2010

Untitled 297, 2010

Instead of trying to hide photography’s special characteristics of transformation in an illusion of material reality, I try to expose and exploit them. I underline the fact that the viewer is seeing an abstraction, a picture rather than actual events, as in the pictures in this exhibition.  Of course, individual picturemakers and picture users have their own ways of transformation, and today’s digital tools just compound those possibilities.

A Carl Chiarenza photograph in Fifty Landscapes, the current exhibition at Main Street Arts

A Carl Chiarenza photograph in Fifty Landscapes, the current exhibition at Main Street Arts

Even without considering the digital revolution, the difference between photography and reality is central to my thinking.  In the case of the media photograph (For example, the widely published image issued by the Bolivian government as evidence of the capture and death of Che Guevera, 1960s revolutionary) this difference can have serious consequences for our understanding of political and social events. How can we know the true relationship between the photograph and the actual facts about Che? This is also seen in the ongoing debate over facts and images of events in the Middle East. The issue of difference in my work has an additional wrinkle: how to hold the viewer’s attention beyond the initial frustrating attempt to decipher “what it is”. The problem is how to get the viewer to abandon their belief in the photograph as window, to bring them through the window to a new and unique visual event rather than an illusion of one that already occurred.

My photographs are made from collages which I construct specifically to be photographed in black and white. This process creates form and subject simultaneously. The collages are means to an end and are discarded once the photographs are completed. The photographs do not look like the collages from which they were made. They are transformations which refer to and represent visual sensations which I know only from a mix of past encounters with other pictures, music, the world, dreams, and fantasies.

The studio and darkroom are like scientists’ laboratories.  Artist and scientist both tinker with the known in search of the unknown. Both have a desire to see realities never before seen.  That desire motivates my work. I set myself free to explore the  photographic picture potential of the process itself, encouraging chance, accident, and discovery.

Noumenon 148, 1987

Noumenon 148, 1987

As Albert Einstein said, “One of the most beautiful things we can experience is the mysterious… It is the source of all true science and art. He who can no longer pause to wonder is as good as dead.”

My commitment is to exploring how little we know compared to how much we think we know, and to how little we know compared to how much we feel.  To make photographs which could convey such enigmas is my continuing obsession.

Stop by Main Street Arts to see Carl’s artwork in our current exhibition, Fifty Landscapes (runs through May 13). View his work online at www.carlchiarenza.com. Take a look at our previous Inside the Artist’s Studio blog post by painter Meredith Mallwitz.

Inside The Artist’s Studio with Tom Kredo: In the Basement

I was born in Detroit, Michigan, the youngest of four with two  sisters and a brother. When I was only 5 my father died, and my stay at home mother became the household breadwinner. I was too young to have many memories of my father, but I was told he had a darkroom in the basement. I have a handful of his photos that he developed of my oldest sister. So when my mother gave me a Kodak Brownie camera and later an Instamatic camera, it must have been under the influence of my father that I became intrigued with making print images from a little box.

Tom Kredo, "Winter View", 2015

Tom Kredo, “Winter View”, 2015

I had plans to apply to RIT to major in Photography after graduating with my Bachelor of Arts degree. I did not. I got a more practical Management degree. Photography was pushed to the side to focus on a career in business, and then later, raising my daughter. Although I always had a darkroom in the basement, I only used it to document my life and the lives of those around me (just like Dad!). The art side of Photography lay dormant until I remarried and finished raising my daughter. It has since seeped back into my life a little bit more every year. Now that I’m retired, I have the ability to pick up where I left off 40 years ago, albeit in a computer transformed world.

My formal art training is replaced by reading art theory books, taking classes in drawing and art, and visiting art galleries. I recently took a talking tour of the Memorial Art Gallery with my BFA friend, while pondering the question “What is Art”? I use the internet every day to help me with post processing techniques and learn from professional photographers. It’s an amazing time we live in.

Pencil drawing from art class

Pencil drawing from art class

Today, the darkroom equipment in my basement is long gone, replaced by my Canon printer, my home assembled PC, my Craftsman workbench table, my mat cutter, and my paper cutter. Although the photographic process has changed, I’m still in the basement.

I cut my own mats with a Logan 450 mat cutter which I find to be a challenge. Precision is everything and it reminds me of wrestling with carpentry projects. You just can’t be off by ¼ inch and have it look good. I recycle a lot of mat paper.

I have a decent HP monitor that can be calibrated, unlike many of the less expensive models. Calibration is important because I want the print to look like the image I see on my computer. I use a Spyder calibration tool about once a month. It attaches to my monitor via suction cups, and I run a software program that instructs me to make changes to my monitor settings. It works nicely as I can see what I print.

Tom Kredo, "Leaf Lines", 2013

Tom Kredo, “Leaf Lines”, 2013

I print my own images using a Canon Pro-100 printer using Canon paper.   I’ve started refilling my own cartridges with bulk ink, which costs a fraction of the manufacturer’s ink. The Pro-100 has been a workhorse for me.

I assemble my own frames by buying in bulk. The challenge here is keeping small bits of dust from getting on the mat under the glass. Using a combination of canned air, cotton gloves, gum erasers and micro fiber cloths, I eventually get the framed photo dust and dirt free!

On the software side, I rent Photoshop/Lightroom from Adobe for a monthly fee. I also use Google’s EFX plug-in tools that seamlessly work the Adobe products. Together, these three tools are what I use to process about 95% of all my photos.

You can see more of Tom’s photography on Flickr. Stop by to see two of his pieces in our current juried exhibition, Structurally Speaking.

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Ellie Honl.

Q & A with Ashley Lyon

The Upstate New York Ceramics Invitational at Main Street Arts will feature functional and sculptural ceramic work by 13 artists from the region. This invitational represents some of the most exciting contemporary ceramic work being made in upstate New York.

The exhibition will be held July 11–August 29, 2015.
Online purchasing will begin in mid-July.

Ashley Lyon

Hornell ceramic artist Ashley Lyon

Ashley Lyon

Q: Where are you from originally and where are you now?
A: I was born and raised in Southern California, Orange County. I left at 18 and moved to Seattle for Undergrad, then to Montana and Colorado for residencies and then back to Washington State for 2 years before moving to Virginia for Graduate School. Following Graduate school I moved to NYC and then 3 years ago I moved to Hornell, NY for a teaching position. I currently live in Hornell.

Q: When did you realize you wanted to be a ceramic artist?
A: I took a lot of ceramics courses in high school, they invented independent study courses for me because I had already taken everything the school offered and I still wanted to pursue it further. In college I tried to focus on something else- I thought perhaps I would become a doctor or a scientist or a writer. When it came time to declare a major the advisor pointed out to me that I had the most credits in art courses despite my desire to become something other than an artist. So this convinced me I should probably just do art. I had to decide between a painting major and a ceramics major because they would not let me do a double major- so I picked Ceramics because at the University of Washington the most exciting things and interesting discussions seemed to be coming from that department. Anyone could major in ceramics whether or not they were using clay- many people were not using clay and this just added to the richness of the program- you could still be a ceramics major by embracing a process that had more to do with the “sensibility” or an approach to clay without actually using it. This completely shaped how I think about it and use it in my own work today.

Q: Did you make other types of artwork before finding ceramics? Do you currently make other work?
A: I make and have made many other things: drawing, painting, videos, photography, textiles. My main other medium that I exhibit professionally along with my ceramic objects is photography.

Q: Do you have an artistic hero or an artist you look up to?
A: There are many, many artists I admire and look up to, I consistently admire and learn from the work of Juan Munoz and Robert Gober. Upon seeing each of their works for the first time I immediately knew and understood all of it- it was a feeling in my gut and my heart that was incredibly inspiring.

Q: What is your largest source of inspiration?
A: I can’t really describe a singular source of inspiration. My impulse to make a piece comes from many things, places, people, and images. Sometimes it is something I’ve seen on the internet, sometimes it is something someone says or something I’ve read, sometimes it is something I’ve witnessed randomly on the street, at a bar, at a restaurant, anywhere really. Sometimes it is a special person or a special object but it can also be something completely banal or someone I don’t know. The main thread is that I tend to start with objects, images, or moments that I have had an intense empathetic connection to. My pieces change and shift significantly as I make them in the studio. Chance, accidents and mishaps are a large source of inspiration and influence upon the final artworks.

Q: Do you look forward to opening the kiln? Or do you wince at the thought of something going wrong in there?
A: A lot of my work is never fired because it is built to become a photograph, but because I embrace accidents and mishaps I have a very neutral relationship with the kiln when I do fire a piece. I look forward to opening the door but rarely do I see what I expected. This is exciting.

Q: What is it like being a ceramic artist in Upstate NY?
A: I have made my work in many places across the country and internationally so making in Upstate NY does not feel particularly distinct for me in relation to my work. I do love it here. I feel good in my soul when I am struck by the natural beauty of everything around me; the seasons, the growth, the colors, the textures. This does not have a direct influence upon my work but it does influence my happiness in life.

I own a large building (a re-purposed Methodist church) that I have remodeled over the last 3 years with my partner Ian McMahon to be our home and studio and an art center. This building was affordable for us to purchase and remodel because it is located in Upstate New York. This is perhaps the most significant influence of location upon my artwork. I have complete access to a very large affordable space, which has been a dream studio for making large-scale sculptures and photographs.

Q: Where else are you showing your work this summer or fall?
A: Nothing planned or scheduled yet! I will be teaching a ceramic workshop at OxBow this summer and am looking forward to that. I am deep in the throws of applying to everything under the sun… and am excited for what the next year may hold in store for me!

Q: Is there anything strange or unique that people might not know about you?
A: I am Co-Founder and Co-Director of an artist-run exhibition center in Hornell, NY: The Belfry.

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Sculpture by Ashley Lyon

Where can people see more of your work/follow you?
Websites: www.ashleylyon.com and www.belfryarts.com

Check out the previous Q & A with ceramic artist Bethany Krull.

Small Works Opening

Thank you to everyone who came to the opening of our Small Works exhibition! It was a great opening, with a wonderful turnout. But don’t worry if you missed it, the show runs through December 29, 2014.

Small Works includes 129 works of art, 12″ or less, in a variety of media by 90 artists from across the country. We announced $1,000 in cash awards at the opening.

The Small Works opening reception

The Small Works opening reception

The Small Works exhibition

The Small Works exhibition

The Small Works opening

The Small Works opening

Artists included:
Atsuko Chirikjian, Alice Chen, Anne Punzi, Brock Flamion, Brad Daruszka, Bethany Haeseler, Carol Acquilano, Cheryl Dawdy, Chalda Maloff, Colleen Pendry, Cathleen Ryan, Craig Wilson, Doug Frohman, Domingo Parada, Denise VanDeroef, Elizabeth Andrews, Fumiko Kashiwagi, George Lorio, Gabriella Soraci, Geoffrey Stein, George Wallace, Harriet Heller, Hannah Lightbody, Ileen Kaplan, Judi Cermak, Julian Cartwright, JoAnn Gentle, Justyn Iannucci, Jennifer Kotler, James Mai, Jacquelyn O’Brien, Jim Pearson, John Ruggles, Joe Tarantelli, Jane Zich, Katherine Baca, Kathryn Bevier, Kristine DeNinnio, Katelyn Jurney, Kevin Stuart, Kenneth Townsend, Lauren Furushima, Lanna Pejovic, Larry Poole, Katharine Wood, Mary Begley, Madalyn LaCava, Maria Victoria Savka, Marissa Tirone, Mari Takagi, Michele Vair, Margaret Wilson, Mark Zeh, Nancy Hicks, Namdoo Kim, Owen Karrel, Phyllis Bryce Ely, Peter Bucklin, Paige Kleinfelder, Patti Miskell, Peter Russom, Robert Fiacco, Ryan Hoevenaar, Ryosuke Kumakura, Roberta Kappel, Rebecca Strohm, Rikki Van Camp, Sarah Arditti, Sara Basher, Sage Churchill-Foster, Samara Doumnande, Sofie Hodara, Susan Kaye, Stephen Komp, Stacy Liberati, Shannon McDonell, Simone Ochrym, Steven Piotrowski, Sean M. Witucki, Taylor Kennedy, Trisha Max, Terry Oakden, Trina Smith, Virginia Cassetta, Vincent Leandro, Vanessa Rivera, William Barkin, William Holowka, Yoon Jee Kwak, Zach Dietl

Gallery director Bradley Butler announcing the five award winners.

Gallery director Bradley Butler announcing the five award winners.

Best in Show: Trina Smith
Juror’s Choice: Yoonjee Kwak
Juror’s Choice: Kenneth Townsend
Honorable Mention: Colleen Pendry
Honorable Mention: Katharine Wood

Exhibition Dates: November 8–December 29, 2014

Upcoming Exhibition: The Opposite of Concrete

Main Street Arts is preparing for our next show in the main gallery space, The Opposite of Concrete: An Exhibition of Abstract Painting and Photography.

Main Street Arts, The Opposite of Concrete, 2014

Main Street Arts, The Opposite of Concrete, 2014. Left to right: Carl Chiarenza, Bradley Butler, Karen Sardisco, Sarah Sutton, and Patricia Wilder

This exhibition features five different approaches to making abstract imagery through painting and photography by Carl Chiarenza, Karen Sardisco, Sarah Sutton, Patricia Wilder, and Bradley Butler (gallery director at Main Street Arts).

The opening reception for The Opposite of Concrete is Saturday, September 6, 2014 from 4 to 7 pm. For reception updates make sure to rsvp to our Facebook event. We hope to see you there!

Exhibition Dates: September 6–November 1, 2014

Opening Reception: Saturday, September 6, 2014 from 4 to 7 pm


For now, check out our blog posts on a few of our exhibiting artists:

A Studio Visit with Painter Sarah Sutton

An interview with Carl Chiarenza

Carl Chiarenza: The Opposite of Concrete

Photographer Carl Chiarenza is one of five artists who will exhibit abstract artwork in our upcoming exhibition at Main Street Arts, The Opposite of Concrete.

Carl Chiarenza, Somerville 10, 1976

Carl Chiarenza, Somerville 10, 1976

Chiarenza recently showed his work at the Rochester Contemporary Art Center as part of their Makers & Mentors exhibit. In an interview for the show, A Conversation with Carl Chiarenza, Carl covers everything from how he began taking photographs to his opinions on the art world’s preoccupation with money.

Carl Chiarenza’s unique perspective on photography, collage, and abstraction itself is one of the strengths of our upcoming exhibition here at Main Street Arts.

Carl Chiarenza, Noumenon 148, 1987

Carl Chiarenza, Noumenon 148, 1987

The Opposite of Concrete features 5 different approaches to making abstract imagery through painting and photography by Carl Chiarenza, Karen Sardisco, Sarah Sutton, Patricia Wilder, and Bradley Butler (gallery director at Main Street Arts).

Carl Chiarenza, Rossini, 2013

Carl Chiarenza, Rossini, 2013

Check our Upcoming Exhibitions page or our Facebook page for updates.

Exhibition Dates: September 6–November 1, 2014

Opening Reception: Saturday, September 6, 2014 from 4 to 7 p.m.