Sarah maline. Water Bear Confabulum: UMF’s Vibrant Alternative Arts Festival

How does the Water Bear Confabulum transform Farmington’s spaces. What inspired this unique arts festival. Why is the water bear chosen as its symbol. How does UMF’s art program engage with the local community.

The Origins and Evolution of the Water Bear Confabulum

Since 2015, the University of Maine at Farmington (UMF) has been hosting a remarkable event that breathes new life into the town’s overlooked spaces. The Water Bear Confabulum, held annually on the last Saturday of October, is an alternative arts festival that transforms Farmington’s alleys and woodlands into vibrant canvases for creative expression.

This festival represents a bold initiative to bridge the gap between contemporary art and rural Maine’s traditional artistic heritage. It serves as a platform for UMF students, local artists, and performers to showcase their talents and engage with the community in unexpected ways.

What makes the Water Bear Confabulum unique?

• It repurposes underutilized spaces in Farmington
• Combines traditional and contemporary art forms
• Encourages community participation and engagement
• Showcases the talents of UMF students across various disciplines

UMF’s Innovative Approach to Art Education

At the heart of the Water Bear Confabulum is UMF’s progressive art program. The university’s approach to art education is distinctly contemporary, focusing on conceptual and socially engaged artwork. This modern perspective is balanced by the program’s integration with the liberal arts curriculum, allowing students from all majors to participate in art classes.

This inclusive approach creates a unique dynamic where diverse perspectives converge, fostering innovation and cross-disciplinary collaboration. The result is a rich tapestry of artistic expression that reflects the multifaceted nature of contemporary society.

How does UMF’s art program differ from traditional art schools?

1. Open enrollment in most art classes for students of all majors
2. Focus on conceptual and socially engaged artwork
3. Integration of contemporary art practices with liberal arts education
4. Emphasis on community engagement and real-world applications

The Symbiosis of Traditional and Contemporary Art in Farmington

Farmington’s artistic landscape is a fascinating blend of the traditional and the contemporary. The region is renowned for its rich history of landscape painting and fine craftsmanship, reflecting a community that values traditional artistic expressions. UMF’s contemporary art program and gallery provide a counterpoint to this established artistic heritage, creating a dynamic dialogue between past and present.

The Water Bear Confabulum serves as a bridge between these two worlds, celebrating diverse artistic voices while challenging conventional notions of art and its place in society. This juxtaposition of traditional and contemporary art forms creates a unique cultural tapestry that defines Farmington’s artistic identity.

Can traditional and contemporary art coexist harmoniously?

The Water Bear Confabulum demonstrates that not only can traditional and contemporary art coexist, but they can also enrich each other. By bringing together artists from different backgrounds and artistic philosophies, the festival creates a fertile ground for creative cross-pollination and mutual inspiration.

The NOW Gallery: A Precursor to the Confabulum

The seeds of the Water Bear Confabulum were sown years earlier with an ambitious project spearheaded by UMF alumna Sarah Bouchard. As an undergraduate gallery intern, Bouchard secured a substantial grant from the Western Maine Mountains Association to revitalize an empty building on Church Street. This initiative gave birth to the NOW Gallery and Studios, a dynamic space that brought together community artists, students, and faculty.

For two years, the NOW Gallery served as a crucible for artistic experimentation and community engagement. It hosted a series of groundbreaking exhibitions that juxtaposed traditional and contemporary art forms, challenging viewers’ perceptions and expectations.

What were some memorable exhibitions at the NOW Gallery?

• Joyce Dubay’s soulful farm-animal portraits displayed alongside a student’s collection of preserved roadkill
• UMF’s Media and Materials class filling the entire gallery space with fiber installations that defied traditional uses

These exhibitions set a precedent for the kind of boundary-pushing, genre-blending artistic experiences that would later become hallmarks of the Water Bear Confabulum.

The Water Bear: A Symbol of Resilience and Adaptation

The choice of the water bear (tardigrade) as the festival’s mascot is both inspired and symbolic. These microscopic creatures are renowned for their incredible resilience and ability to adapt to extreme environments – even the harsh conditions of outer space.

By adopting the water bear as their symbol, the organizers of the Confabulum draw parallels between these remarkable creatures and the tenacious spirit of rural Western Maine’s artistic community. The water bear embodies the festival’s ethos of endurance, adaptability, and the ability to thrive in challenging circumstances.

Why is the water bear an apt symbol for the festival?

• Represents resilience in the face of adversity
• Symbolizes adaptability to changing environments
• Reflects the enduring spirit of rural Western Maine’s artistic community
• Embodies the festival’s ethos of creativity and perseverance

Reimagining Farmington’s Spaces Through Art

One of the most striking aspects of the Water Bear Confabulum is its transformation of Farmington’s overlooked spaces into vibrant artistic venues. Unloved alleys and serene woodlands alike become canvases for creative expression, challenging participants and viewers to see their familiar surroundings in new and exciting ways.

This artistic invasion of everyday spaces serves multiple purposes. It brings fresh attention to the physical and social fabric of the town, encourages community engagement, and subverts traditional expectations of where and how art should be experienced.

How does the Confabulum transform Farmington’s spaces?

• Drawing students create large-scale murals on alley walls
• The CRAPP class parades wearable manifestos through town
• UMF Art Gallery interns engage children in wheat-pasting activities
• The Art and Environment class collaborates with guest artists on installations
• Arts administration and sound-art students activate alleys with performances

Fostering Community Engagement Through Art

At its core, the Water Bear Confabulum is about more than just showcasing art – it’s about fostering community engagement and dialogue. By bringing art out of traditional gallery spaces and into the public realm, the festival creates opportunities for spontaneous interactions and shared experiences among community members.

This approach to art-making and presentation challenges the notion of art as something to be passively observed. Instead, it positions art as a catalyst for community building, encouraging active participation and dialogue among diverse groups of people.

How does the Confabulum encourage community participation?

1. Interactive installations that invite viewer participation
2. Collaborative art projects involving students and community members
3. Public performances that transform familiar spaces
4. Workshops and activities that engage people of all ages

Through these various initiatives, the Water Bear Confabulum has become more than just an arts festival – it’s a celebration of community, creativity, and the transformative power of art.

The Impact of the Water Bear Confabulum on UMF Students

For UMF students, the Water Bear Confabulum offers invaluable real-world experience in conceptualizing, creating, and presenting art in public spaces. It provides a unique platform for them to apply the skills and knowledge gained in their classes to tangible, community-oriented projects.

The festival’s interdisciplinary nature also encourages collaboration across different majors and departments. Students from diverse academic backgrounds come together to create art, fostering a rich environment for creative problem-solving and innovation.

What opportunities does the Confabulum provide for UMF students?

• Hands-on experience in public art creation and installation
• Opportunities to engage with the local community through art
• Collaboration with professional artists and peers from other disciplines
• Development of project management and event planning skills
• Exposure to diverse artistic practices and perspectives

These experiences not only enhance students’ artistic skills but also prepare them for careers in the arts, community development, and related fields.

The Role of Guest Artists in the Water Bear Confabulum

The Water Bear Confabulum’s impact is amplified by the participation of guest artists who bring fresh perspectives and expertise to the festival. These collaborations, often supported by grants from organizations like the Onion Foundation, enrich the creative ecosystem of Farmington and provide valuable learning opportunities for UMF students.

Guest artists work alongside students and community members, sharing their knowledge and techniques while also gaining inspiration from the unique rural setting and local artistic traditions. This exchange of ideas and practices contributes to the festival’s dynamic and evolving nature.

How do guest artists contribute to the Confabulum?

1. Collaboration on large-scale installations
2. Mentorship of UMF students
3. Introduction of new artistic techniques and perspectives
4. Creation of site-specific works that respond to Farmington’s unique environment

These collaborations not only enhance the festival’s artistic offerings but also help to position Farmington as a hub for contemporary art in rural Maine.

The Future of the Water Bear Confabulum

As the Water Bear Confabulum continues to evolve, it faces both challenges and opportunities. The festival’s success in bridging traditional and contemporary art forms, engaging the community, and transforming public spaces has set a high bar for future iterations.

Looking ahead, the organizers aim to expand the festival’s reach while maintaining its intimate, community-focused nature. This may involve exploring new venues, incorporating emerging technologies, and forging partnerships with other cultural institutions in the region.

What potential directions could the Confabulum take in the future?

• Integration of virtual and augmented reality elements
• Expansion to additional locations within Farmington and surrounding areas
• Development of year-round programming to complement the annual festival
• Increased collaboration with other cultural events and institutions in Maine
• Establishment of artist residency programs to further enrich the local art scene

As the Water Bear Confabulum continues to grow and evolve, it remains true to its core mission of celebrating diverse artistic voices, reimagining familiar spaces, and fostering a vibrant, resilient creative community in rural Western Maine.

UMF Water Bear Confabulum — Sarah Maline

Since 2015 on the last Saturday in October, UMF students, artists, and performers take over the unloved alleys (and sometimes the splendid woods) of Farmington for the Water Bear Confabulum.  Students in drawing classes create a huge mural on the wall of the Homestead Restaurant, students in the CRAPP  (Creative Relationship of Art and the Personal Politic) class parade their wearable manifestos, UMF Art Gallery interns help kids wheatpaste an alley wall, and the Art and Environment class works with guest artists to install work.  Arts administration and sound-art students activate the alleys with all kinds of sound and performance. The annual Water Bear Confabulum alternative arts festival is the most recent of a series of projects to bring contemporary art to this rural region and to build a dialogue between traditional and new art.

AJ Saulnier (Political Science 2021) wears a dress of debris.

UMF’s art program focuses on conceptual, socially engaged artwork. As a liberal arts college, all our art classes, except the capstone semesters of senior thesis and senior exhibition, are open to students of all majors. While we have a contemporary art program and a contemporary art gallery on campus, the university itself is nestled in the foothills of a region known for its history of landscape painting and fine craftsmanship and a community that celebrates traditional values in the arts.

On a rainy day students help install Sarah Bouchard’s Self Tcelfer in the Flint Woods. Sarah’s participation was supported by a grant from the Onion Foundation.

One of the inspirations for the Confabulum was an ambitious project of UMF alum Sarah Bouchard (Art 2003). As an undergraduate gallery intern she won a large grant from the Western Maine Mountains Association to rehabilitate an empty building on Church Street and set up a gallery and workspaces for community artists, students, and art faculty.  The NOW Gallery and Studios ran for two splendid years (until the building was sold) and created a dynamic and supportive social environment that hosted some crazy-wonderful exhibitions juxtaposing traditional and contemporary art. Most memorable were painter/art-teacher Joyce Dubay’s soulful farm-animal portraits shown together with an art student’s uncanny collection of local roadkill victims suspended in huge canning jars.  Later, UMF’s Media and Materials class filled the entire gallery space with installations of fibers that defied their traditional uses. The NOW Gallery was the first project to bring together the contemporary arts and local arts community.

Michel Droge documents her navigational chart built in the Flint Woods together with UMF students. In the foreground is Heather Towle (Psychology 2021) and a canine friend. Michel’s participation was supported by a grant from the Onion Foundation.

The Confabulum celebrates diverse artistic voices, including the traditional. The gathering invites the re-imaginings of everyday places in Farmington in surprising ways through art and performance. By subverting traditional functions and expectations of familiar places and by artistically invading overlooked spaces, artmakers and community members bring fresh attention to the physical and social fabric of our town.

Lexi Dube (Philosophy and Religion 2020) in her manifesto project, Blossoms When Watered

Students chose the Water Bear (tardigrade) to represent the lively and resilient community of rural Western Maine. The Water Bear is enduring and tenacious—it adapts to extreme environments, even to the extreme farscape of outer space.  Confabulum conflates two meanings of confabulation–to engage in conversation, and the brain’s compulsion to create fictions to fill gaps in memory.

Image at top of page: Drawing students work on a mural on the alley wall of the Homestead Restaurant

Introduction — UMF Art Gallery

Juliet’s Room brings together three interwoven bodies of work. Over the past decade Karelsen has developed an idiosyncratic personal lexicon springing from very different working processes: close, almost obsessive observation of nature and familiar objects, the eccentric repurposing of images by other artists, and bursts of expressionistic abstraction. What unites the work in Juliet’s Room, along with her unique vision and humor, is physical and psychological intimacy and attention to surfaces as ornamental overlays of charged emotion, family history, and private memory.

We enter and leave Juliet’s Room through a procession of needlework lichen “paintings” that writhe and dance or sit in stolid silence as their colors burst and wane. Karelsen studies each tiny plot in minute detail, a record of an intense encounter between the artist and the lichen, mosses, fungi, flowers and ferns inhabiting each diminutive stage. To the artist they represent resilience and the persistence of life. Her dense, immersive process of documentation forms a counterpoint to the delicate rubbings-on-paper of her Oma’s gloves. 

The exhibition is grounded in The Apartment, an installation recording Karelsen’s encounters with the sad and beautiful residue of her family’s life as she emptied her parents’ Manhattan apartment, her childhood home. Karelsen selects a few pieces of comfortably worn furniture—her mother’s mirrored vanity, her parents’ matching chairs, the tiny embroidered child-chair that she and her sister shared to stand as repositories of memory.

A sometimes delicious, sometimes poignant tension between surface and deeper emotions suffuses the exhibition. The best example may be the artist’s portraits of her parents at different times in their lives–Ursula, in a quirky needlepoint composition suspended above her vanity (inside cover), is young and glamorous while Frank lives and dies in extreme old age (page 16) in a series of gouache sketches in the Sympathy Series, reflected across the gallery in the vanity mirror.  

As Carl Little points out in his essay, the lovingly embroidered plastic pill bottles are particularly striking. While the original objects are not present, in the glossy, color-saturated threaded surfaces Karelsen creates alluring portraits of the little receptacles that are then echoed in a separate series of pale gouache images of the same bottles. The pill bottles become keenly tangible despite their physical absence. In the same way there is a call and response through time between the real porcelain figurines on Ursula’s vanity and their gouache apparitions hanging above the parents’ paired chairs.

A deeper history resonates through the artist’s close attention to the family’s everyday possessions. Karelsen’s mother escaped from Germany with her parents in 1935; the artist’s great-grandmother stayed behind in Münsingen and was sheltered by neighbors until finally captured and killed by the Nazis. One local child in particular brought her food in exchange for small gifts—things like a lace shawl and small pieces of jewelry and cutlery. In 2007, Karelsen traveled with her mother and her own daughter Elysia to Germany to see the donation of these small gifts to the Laupheim Museum of Christian and Jewish History and to meet Elizabeth, the little girl, now elderly lady, who protected her great-grandmother. 

Joyous Cosmology? borrows its title from philosopher Alan Watts’ popular 1962 account of his experiments with hallucinogens and his unconventional interpretation of Zen to arrive at the view of ego and consciousness as a “transparent abstraction. ” Karelsen lifts characters from the fantastical, violent stories of late ukiyo artists Hokusai and Yoshitoshi and the intensely imagined scenarios of Henry Darger’s In the Realms of the Unreal and sets them in a coolly ornamental world composed of Katz, Warhol, and O’Keefe flowers. 

In Kiyohime With Flowers and Children we see the vengeful princess rising above a flat garden inhabited by Darger’s naked warrior children. Famous from the Kabuki dance play Musume Dōjōji, Princess Kiyo, maddened with rage at the handsome priest who denies her love, wrings her hair as she emerges dripping from crossing a river, beginning a magnificent transformation into a serpent. In the original 1865 woodblock print by Yoshitoshi sourced by Karelsen, water streams from her body, the river froths at her feet, and the pattern of her kimono turns to scales. In her crazed determination the original audience could fully imagine the climax of the story as the serpent, burning with hatred, immolates the priest as he cowers under an enormous melting temple bell.   But here, in Joyous Cosmology?, the surface is pale and transparent, the rich colors and violence of the original images is drained away, leaving what the artist describes as “new, sometimes cryptic, often symbolic, sometimes humorous narratives that comment on their place in the flatness where they find themselves–art and ideas from the east and the west interplay to create a pop, mainstream, and offhand consciousness.”

Events

Oct 23

UMF set to thrill audience with “Wait Until Dark,”

UMF set to thrill audience with “Wait Until Dark,” Oct 20–23 FARMINGTON, ME (October 3, 2016)—The University of Maine at Farmington’s first theatrical production this fall will have the audience on the edge of their seats with Frederick Knott’s psychological thriller “Wait Until Dark.” This Theatre UMF production will be presented…

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Oct 28

Hope Association Halloween Dance

Hope Association Halloween DanceOctober 28, 2016 6pm – 8pm85 Lincoln Ave Rumford, ME 04276207-364-4561Come join in on the fun in costume or with out. Donations welcomed at the doorRefreshments will be available

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Oct 29

UMF Art Gallery presents second annual Water Bear Confabulum arts festival

UMF Art Gallery presents second annual Water Bear Confabulum arts festival, Oct 29
The UMF Art Gallery is inviting the public to its second annual Water Bear Confabulum, an alternative arts festival and series of events in Farmington, Maine, that celebrate diverse artistic and community voices. This year’s collaborative arts festival will take…

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Nov 1

Complete Dentistry’s Halloween Candy Buy Back

Don’t know what to do with all of that Halloween Candy? Trade it for cash at Complete Dentistry’s 4th Annual Halloween Candy Buy Back! Stop by anytime during their normal business hours (8am-5pm Mon-Thurs, 8am-12pm Friday) Tuesday, November 1st through Friday, November 4th. You receive $1 per pound, and your school receives 50 cents per pound! All…

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Nov 2

Community Conversation about the future of Saddleback Mountain

There will be a short presentation from Peter Stein, Saddleback Mountain Community Resort; Steve Philbrick, Bald Mountain Camps and Wolfe Tone, Trust for Public Lands. The group will then be taking questions in regards to the fundraising effort to allow us to enjoy a community owned mountain.
FMI: www.skisaddlebackme.com
 
 

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Nov 3

Small Business Training’s

Small Business Administration will be offering three different workshops “Starting Your Own  Small Business” Access to Capital” and “ Federal and  State Resources for Small Business” Most of these Workshops are two hours long. For more information please call Bill Card @ 1-207-622-8555

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Nov 3

Vocational Rehabilitation Orientation

This is an orientation for people with disabilities who are considering vocational rehabilitation services. Orientations are held the 1st Thursday of the month. Service providers are also welcome to attend. Registration not required
 
The following sessions will be held at the Wilton CareerCenter 865 Us Route 2E Wilton, ME. Telephone 207-645-5800;…

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Nov 5

The University of Maine at Farmington’s Annual Arts and Crafts Show

The UMF Arts and Crafts Show has a wealth of handcrafted, one-of-a-kind art and gift items, clothing, hand-sewn crafts, holiday items and much more for sale from local crafters and artisans. For more information call the UMF Conference & Events Office at 207-778-7344 or email Ernestine Hutchinson at [email protected]

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Nov 5

UMF kicks off the holiday season with annual Arts and Crafts Show

FARMINGTON, ME (October 20, 2016)— University of Maine at Farmington holds its annual Arts and Crafts Show from 9 a. m. to 2 p.m., Saturday, Nov. 5, 2016, in the UMF Olsen Student Center on South Street in Farmington. Artists and crafters from across Maine, including many new artisans, will exhibit their original and creative works at this…

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Nov 10

TOTALLY TRADES / CAREER EXPO / EMPLOYER SYMPOSIUM/ CAREER FAIR 2016

In partnership between Foster CTE Center, New Ventures of Maine, the Franklin County Network, and the Wilton Career Center, a four-event program will be offered to Franklin County on November 10th, 2016 at the Mt Blue Campus.1.Totally Trades – Sponsored by New Ventures Maine(8:00-11:00)This program is designed for 9th grade girls from Mt Blue,…

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Nov 10

Essentials of College Planning

This workshop introduces people to educational opportunities in general and MEOC services in particular. This interactive workshop touches on the four steps in the college process: admissions, financial aid, career and study skills. The Financial Aid portion of this workshop will provide an overview of financial basics and the completion of the…

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Nov 13

RMHC of Maine Bowl-A-Thon

Join RMHC of Maine for their first annual Farmington Bowl-A-Thon at Meadow Lanes on Sunday, November 13 from 12-4pm. It takes 5 people to form a team so challenge your coworkers, neighbors, friends and family to a friendly match and support a great cause – keeping families close. Play for a chance to win trophies and enjoy pizza and make-your-own…

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Nov 13

Sarah Maline to Speak on the “Pop Art” of the Meiji Era

Sarah Maline to Speak on the “Pop Art” of the Meiji Era      Sarah Maline, scholar, teacher, curator, collector, and Shiretown Booker, will speak on “Collecting Meiji-Era Prints: Modernism and Transformation”, an overview of the effects of the modern world on the traditional values of Japanese society, on Sunday, November 13th at 5:30 in the…

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Nov 15

November’s Business After Hours at Franklin Savings Bank

For the November Business After Hours, Franklin Savings Bank will put the focus on Giving Thanks and Giving Back. The bank will use its spotlight to showcase one of its beneficiaries, Androscoggin Home Care & Hospice, which celebrates its 50th Anniversary this year. The November event is 5 to 7 p.m. TUESDAY, November 15th at the bank’s Main…

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Nov 16

Employer Expectations

The workshop will cover the following topics: Creating a Great Resume, Preparing for Your Interview, Preparing for a New Job. Individual follow-ups may occur for Resume Critique as requested. This workshop is facilitated by Barclaycard US. It is not a recruitment effort for Barclaycard US; it is a workshop for people applying for all different…

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Nov 19

UMF Fitness and Recreation Center Hosts Annual Turkey Trot

UMF Fitness and Recreation Center hosts annual Turkey Trot, Nov. 19 FARMINGTON, ME (November 7, 2016)—The University of Maine at Farmington Fitness and Recreation Center invites the public to join them in its ninth annual Turkey Trot and Kids Fun Run Saturday, Nov. 19. Race day registration is 8:30-9:30 a.m., Kid’s Fun Run starts at 9:45 a.m.…

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Nov 19

Farmington Downtown Association Presents Ladies’ Day Out

The Farmington Downtown Association is excited to announce the date for its sixth annual Ladies’ Day Out: Saturday, November 19th. From 10-5, Farmington downtown businesses and organizations will offer retail and dining specials and some well-deserved pampering.
Check-in for the day’s events starts at 10am at City Lights. Goodie bags are…

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Nov 19

The Great Charity Auction

The United Way of the Tri-Valley Area is hosting the Great Charity Auction just in time for early holiday shopping. The signature event for United Way will be held on Saturday, November 19 at the North Dining Hall at University of Maine Farmington. The auction is sponsored by Gold Sponsor Franklin Printing; Silver Sponsor Franklin Savings Bank;…

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Nov 19

Novel Jazz Concert

The Arts Institute of Western Maine presents a concert by the southern Maine jazz septet Novel Jazz on Saturday, November 19 at 7:30 PM at Merrill Hall on the campus of the University of Maine at Farmington. Admission is $12; students with ID are free. The band regularly plays throughout Maine, performed for Maine Public Radio, and appeared in a…

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Nov 20

UMF Collegium Features Works For Orchestra, Band and Brass Quintet

The UMF Collegium, a collection of instrumental ensembles under the direction of conductor Eric Thomas, will present a program featuring performances by the orchestra, band and an unconventional brass quintet at 3:30 p. m., Sunday, Nov. 20, in Nordica Auditorium in Merrill Hall on the University of Maine at Farmington campus. The orchestra will be…

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C.V. — Veronica Cross

Solo Exhibitions

2022

HUNGRY GHOSTS, Second Story Gallery, New Orleans, LA, forthcoming

2021

OFFERINGS, Second Story Gallery, New Orleans, LA

2019

DESTINATION (UN)KNOWN: THE VALUE OF FORGETTING SO THAT YOU MAY RECALL, Kristie Mayeaux, curator, Basin Street Arts, Lafayette, LA

2015       

SHE’S (NOT) THERE: THE RE-MIX, Sarah Maline, curator, UMF Art Gallery, University of Maine Farmington, Farmington, ME

2014       

TIME & PLACE: NARRATIVE LANDSCAPES 2009-2014, Owen Gallery, Gould Academy, Bethel, ME

RICH INNER LIFE, a P3+ PROSPECT 3 satellite project in conjunction with, WITH LOVE WITH LIGHT, Tigermen Den, New Orleans, LA  

2012       

CAST IN AMBER, Elizabeth Moss Galleries, Falmouth, ME

2010       

LOVE LETTERS TO AN AMERICAN GOTHIC, Lajos Matolcsy Art Center, Norway, ME

2009       

NEW WORKS: LOST & FOUND, Aucocisco Galleries, Portland, ME

2005       

REMEMBER ME, Capsule Gallery, NYC

HOMECOMING, Realform Project Space, Brooklyn. NY

2001

THE FEMALE GAZE, Barbara Ann Levy Gallery, NYC

1998       

CONCEPTS IN BURLESQUE: WHAT BECOMES A WOMAN MOST? Abraham Lubelski Gallery, NYC

Two-Person Exhibitions

2019

With Tan Khanh Cao, Leona Strassberg Steiner, curator, 912 Julia, New Orleans, LA

2018

EMBODIMENTS, VERONICA CROSS & NIKKI JUEN, UNO St. Claude Gallery, New Orleans, LA

2014       

SHOW/GIRLS, Elizabeth Moss Galleries, Falmouth, ME

2003

VERONICA CROSS & CHRISTINE CALLAHAN, Barbara Ann Levy Gallery, Fire Island, NY

YOUNG AMERICAN PAINTERS, American-European Fine Art, Inc, NYC

1998        

dona icon, Empire Gallery, SUNY Empire State College, NYC

Selected Group Exhibitions

2021

RESUSCITATION, Second Story Gallery, New Orleans, LA

CAPTURED FRAGMENTS, Second Story Gallery, New Orleans, LA

2020

THE HEALTHY ARTIST, Jaik Faulk and Bob Borel, curators, Acadiana Center for the Arts, Lafayette, LA

MAKE AMERICA WHAT AMERICA MUST BECOME, Katrina Neumann and George Scheer, curators, Contemporary Arts Center, New Orleans, LA

2018

NEW SURROUNDINGS, Leona Strassberg Steiner, curator, 912 Julia, New Orleans, LA

WETLANDS ART TOUR, Leona Strassberg Steiner, curator, New Orleans Art Center, New Orleans, LA

2016

IN THIS REALM, Michel Droge, curator, Institute of Contemporary Art at Maine College of Art, Portland, ME

MFA Thesis Exhibition, Vermont College of Fine Arts, Montpelier, VT

2015       

FOCUSING ON NATURAL HISTORY, Maine Photography Project, L. C. Bates Museum of Natural History, Fairfield, ME

SEASONAL SCENES: THE BEAUTY OF RURAL MAINE, L.C. Bates Museum of Natural History, Fairfield, ME

2014       

MAINE NORTHERN SKIES: CLEAR LIGHT, L.C. Bates Museum of Natural History, Fairfield, ME

2013       

JUST WHAT YOU’VE ALWAYS WANTED, Elizabeth Moss Galleries, Falmouth, ME

GIFT TO THE GLACIER, L.C. Bates Museum of Natural History, Fairfield, ME

2012       

HUMANITY IN NATURE, L.C. Bates Museum of Natural History, Fairfield, ME

2011       

SOMETHING BLUE, Elizabeth Moss Galleries, Falmouth, ME

DRAWING FROM THE COLLECTIONS, L.C. Bates Museum of Natural History, Fairfield, ME

AUDITION, Aucocisco Galleries, Portland, ME

VISUAL POETRY, Lewis Gallery, Portland Public Library, presented by Aucocisco Galleries, Portland, ME

2010       

SUMMER SALON GROUP SHOW, Aucocisco Galleries, Portland, ME

SPRING INTO SUMMER SHOW, Lajos Matolcsy Art Center, Norway, ME

2009       

SUMMER SALON GROUP SHOW, Aucocisco Galleries, Portland, ME

PAPER IN THE WIND 3, David Gibson, curator, Tom Jaekel Gallery, NYC

2008       

PAPER IN THE WIND 2, David Gibson, curator, Realform Project Space, Brooklyn, NY

2007       

29 WEST, Meghan Bush, Heather Stephens, curators, 29 West, NYC

2006       

PUSH ME, PULL YOU, Carolyn Monastra, curator, Ise Cultural Foundation, NYC

2005       

YOUNG AMERICANS, Meghan Bush and Heather Stephens, Wake Forest University, North Carolina

2004       

ART OF THE NEIGHBORHOOD, Tastes Like Chicken, Brooklyn, NY AND ONE FOR GRANDMA, Capsule Gallery, NYC

2003       

SCOPE ART FAIR, 31 Grand, presenters, Los Angeles, CA

ID-ENTITY, David Gibson, curator, NurtureArt, Brooklyn, NY

DEALER’S CHOICE, 31 Grand, Brooklyn, NY

THAT SUMMER FEELING…, Erika Belle, curator, Wooster Projects, NYC

THIRD ANNUAL B. A.A.D! ASS WOMEN ARTS SHOW, Cassandra & Noelia Tejada, curators, Bronx Academy of Arts & Dance, Hunts Point, NY         

2002       

BURNING SENSATION II, CB’s 313 Gallery, NYC

BODIES AND FORMS, David Gibson, curator, DUMBO Arts Festival, Studio #415, Brooklyn, NY

BEAUTY NOTHING MORE THAN THE PROMISE OF HAPPINESS, Erika Belle, curator, Sylvia Heisel, NYC

GLASSWORKS, tactileBOSCH, Cardiff, Wales, UK, catalogue

RAW DESIRE, Coralee Lynn Rose, curator, Hunter MFA Bldg, NYC

SECOND ANNUAL B.A.A.D.! ASS WOMEN ARTS SHOW, Cassandra & Alejandra Delfin, curators, Bronx Academy of Arts & Dance, Hunts Point, NY

2001       

THOROUGHLY ENTERTAINED, 17 White Street, NYC   

REVENGE OF THE PUSSY, Barbara Ann Levy Gallery, Fire Island, NY

tactileBOSCH HAS MORE FRONT…, More Front, Cardiff, Wales, UK 

2000       

THE PUSSY SHOW, Barbara Ann Levy Gallery, Fire Island, NYC

BURNING SENSATION, CB’s 313 Gallery, NYC

1999       

THE VARIETY SHOW, FC29, NYC

LUNA PARK, Christine Callahan, curator, Barbara Ann Levy Gallery, Fire Island, NY

1998       

EVERY GIRL LOVES A BAD ASS, CB’s 313 Gallery, NYC

YOU’VE GOT A HOT ASS – THE REVENGE OF L. H.O.O.Q., Bill Kaizen, curator, 450 Broadway Gallery, NYC  7TH ANNUAL ART AROUND THE PARK, Tompkins Square Park, NYC

PIER SHOW 6, Brooklyn Waterfront Artists’ Coalition, Beard St Pier, Brooklyn, NY            

2 CHICS FROM BROOKLYN, Café Web Gallery, Albany, NY

Exhibitions in Alternative Spaces, Installation and Site-Specific Works

2009        

GIRL AND BOY, solo project, Scott Davis, curator, Waldoboro, Maine

2001        

DIVAS AND DIRTBAGS, solo project, Spa, NYC 

1999        

ROCK AND ROLL BURLESQUE, solo project, ON, Life, NYC Brooklyn, NY

1997        

MURAL, Graffiti collaboration, Hewes St., Brooklyn, 

HOT WOMEN ARTISTS, Graffiti collaboration, Phun Phactory Aerosol Art Corporation, Long Island City, NY

1996        

STARECASE, guerilla installation, S.U.N.Y. at Stony Brook, Stony Brook, NY 

PRESS – PLEASE SEE PRESS PUBLICATIONS SECTION FOR ARTICLES ABOUT MY WORK

PUBLISHED WRITING AND RELATED PROJECTS

Project Manager/Editor for a 1960’s-focused book of photography, Highway 67, by Charlie Steiner, in production.

“Fantasy II in Exile at Acadiana Center for the Arts”, Burnaway, Vol. 13, Issue 46; Nov. 11, 2021.

              https://burnaway.org/daily/fantasy-ii-exile/

“George Clinton: Free Your Mind”, ANTIGRAVITY, Nov. 2021, Nov. 7, 2021.

              https://antigravitymagazine.com/reviews/reviews-64/

“Sheldon Scott’s Ruminations on Blackness in Capital, Captivity, and Catharsis: Portrait, number 1 man (day clean ta sun

              down), 2018”, The Maine Arts Journal, Fall 2021, Oct. 1, 2021.https://maineartsjournal.com/veronica-cross-sheldon-scotts-ruminations-on-blackness-in-capital-captivity-and-catharsis-portrait-number-1-man-day-clean-ta-sun-down-2018/

“Of Life Interrupted – Die-Ins, Visual Poetics, and Community Engagement: Bringing Visibility to the Culture of Addiction”,

              The Maine Arts Journal, Spring 2021, April 1, 2021.

               https://maineartsjournal.com/veronica-cross-of-life-interrupted/

“Letter from New Orleans: The Importance of Taking Up Space”, The Maine Arts Journal, Winter 2021, Dec. 1, 2020.

              https://maineartsjournal.com/veronica-cross-letter-from-new-orleans-the-importance-of-taking-up-space/

“Connecting Jazz and Ballet at Marigny Opera House”, Revieux, Feb. 5, 2018.  https://revieux.org/reviews/connecting-jazz-ballet-marigny-opera-house/

“Three Aperitifs for the Holidays: Christmas Cocktails at The Marigny Opera House”, Revieux, Jan. 11, 2018. https://revieux.org/reviews/ballet/three-aperitifs-for-the-holidays-christmas-cocktails-at-the-marigny-opera-house/

“The Radiant Illuminati of LUNA Fete”, Revieux, Jan. 11, 2018. https://revieux.org/reviews/the-radiant-illuminati-of-luna-fete/

“An Angel Appeared: Why Book of Saints Matters”, Revieux, Oct. 16, 2017.  https://revieux.org/reviews/ballet/an-angel-appeared-why-book-of-saints-matters/

With Belle, Erika and Purcigliotti, Andrea: “Women on Women at Bellwether”, NY Arts Magazine, Vol. 5, No. 4, pp. 24-26.

“Connecting with the Psychic Friends of Robert Hawkins”, NY Arts Magazine, Vol. 5, No. 3, pp. 20-21.

“Appearance is All that Matters: The Well-Worn Piano”, catalogue essay for Jung Hur exhibition , FINALLY WEAR THE PIANO, at Corey Daniels Gallery, Wells, ME, May 2015.

SPECIAL PROJECTS

2021-Current, Project Manager for a 1960s-themed photography book presenting works by Charlie Steiner

GRANTS and residencies

2017

Vermont Studio Center Residency, Artist’s Grant, Johnson, VT

2004         

Emerging Curators Program Grant, Ise Cultural Foundation, for the INNER GARDEN exhibition, Ise Cultural Foundation, NYC

2002         

Travel funding provided by Interlink, UK, via Wales Arts Council, to exhibit in tactileBOSCH HAS MORE FRONT at More Front, Wales, UK

2001         

Travel funding provided by Interlink, UK, via the Wales Arts Council as co-curator of STIMULATA, Howard Gardens Gallery, University of Wales in Cardiff, Wales, UK

PERFORMANCE/ ACTING

IMDb link: www.

imdb.com/name/nm1501581/?ref_=nv_sr_1

2015

HER STRUT/FLAG-RAISING, performance at Vermont College of Fine Arts, Montpelier, VT

With artist/director Nikki Juen, CHAKRA STACKS, Vermont College of Fine Arts, Montpelier, VT

2003

1966, “D.J. Verockina”, musical,  Jacksina, Judy, director. El Flamingo East, NYC.

2000

HAIR BURNERS, “Badger”, film, Ambler, Ned, director. USA.

1999

GANG GIRLS 2000, short, Del Mar, Katrina, director. USA.

EDUCATION

M.F.A.

Vermont College of Fine Arts, Montpelier, VT,  M.F.A. in Visual Art, Summer 2016

B.A.

University of Southern Maine, Portland, Maine, Studio Art & Entrepreneurial Studies with a Minor in Art History, Magna Cum Laude, 2014

1996-1998      

Studio Semester Program, SUNY at Empire State College, NYC 

1997-1998

Art Students’ League Work Study Scholarship in Printmaking, NYC

1995-1996      

SUNY at Stony Brook University, Stony Brook, NY

1990-1992      

School of Visual Arts, NYC

CURRENT GALLERY AFFILIATION

Second Story Gallery, New Orleans Healing Center, New Orleans, LA

BOARD POSITIONS

2017-18

Fundraising Chair, NOLA Roundup, a non-profit addiction recovery initiative with an emphasis on the LGBTQ communities of New Orleans

Advisory Board, Freetown Studios, Lafayette, LA

2010-2012       

Western Maine Art Group, Laos Matolcsy Arts Center, Norway, ME 

studio assistant positions

1996-1998, Assistant to Master Printer Kathy Caraccio, K. Caraccio Printing Studio, NYC

1997-2000, Studio assistant to artist Stephanie Rose, NYC

Maline, Richard / Welcome

Maline, Richard / Welcome

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SURFACE Genealogy | WikiTree FREE Family Tree

This SURFACE index was pre-built so it loads quickly. Click here for live data and advanced tools for collaboration, genetic genealogy, surname projects, etc.

Jessee Edward Surface
31 Aug 1916 Montgomery, Virginia, United States – 14 Jan 1981 managed by D.e. Layman last edited 5 Dec 2021

Unlisted Surface

Unlisted Surface last edited 3 Dec 2021

Franklin Surface
abt 1879 Indiana, United States – abt 1949 managed by Teresa Coffman last edited 29 Nov 2021

Elizabeth (Surface) Harmon
25 Dec 1797 Pennsylvania, United States – 22 Apr 1876 managed by Rhonda Jacobson last edited 17 Nov 2021

Samuel Surface
18 Jan 1817 Warren Co., Ohio – 06 Mar 1894 managed by Bobi DeVore last edited 1 Nov 2021

Hiram Price Surface
30 Mar 1841 Johnson, Indiana, United States – 20 Sep 1903 managed by Cynthia Alphenaar last edited 11 Sep 2021

Clarence Wilbur Surface
12 Sep 1888 Fremont, Iowa, United States – 18 Jul 1954 managed by Linda Peterson last edited 17 Aug 2021

Ernest Victor Surface
03 Nov 1888 Nebraska, United States – 02 Dec 1957 managed by Clarence Surface last edited 24 Jul 2021

Stanley Surface
27 Dec 1957 Portland, Multnomah, Oregon, United States – 23 Apr 1999

George Wesley Surface
15 Oct 1860 Bargersville, Johnson County, Indiana – 21 Apr 1922 managed by Steven Mix last edited 11 Mar 2021

Jesse Surface
22 Jun 1832 Ohio – 24 Jan 1833 managed by Star St. John last edited 27 Jan 2021

Ira Edwin Surface Jr.
13 Nov 1937 Miamisburg, Montgomery Co., Ohio,Oregonia, United States – 09 Jun 2011 managed by Glenn Harden last edited 22 Jan 2021

John Surface Jr.
abt 1761 Pennsylvania – abt 01 Nov 1808 last edited 31 Dec 2020

Osva Doyl (Surface) Sarver
26 Sep 1899 West Virginia, United States – 19 Jun 1995 managed by Kristen Parsons last edited 16 Dec 2020

George Surface
19 May 1805 Warren, Ohio, United States – 27 Feb 1879 managed by Sherry Clendenon last edited 30 Nov 2020

Amos Surface
29 Mar 1851 Ohio, USA – 15 Nov 1901 managed by Deborah Head last edited 3 Nov 2020

George William Surface Sr.
13 Jul 1767 Northampton, Pennsylvania – 14 Feb 1846 managed by Cynthia Alphenaar last edited 12 Oct 2020

Mary (Surface) Ribble
abt 1789 Montgomery, Virginia, United States – 01 Feb 1852 managed by Rick Ribble last edited 7 Oct 2020

Naomi Florence (Surface) Songer
bef 19 Mar 1883 Botetourt, Botetourt, Virginia, United States – 22 Jun 1967 managed by Janice Fuller-Woods last edited 2 Oct 2020

Unlisted Surface managed by Matthew Moquin last edited 3 Aug 2020

Michael Surface
bef 29 Feb 1760 Lehigh, Pennsylvania – 07 Nov 1815 managed by Michael Barton last edited 21 Jul 2020

Lou Emma (Surface) Hoffman
21 Aug 1869 Sandlick, West Virginia, USA – 09 Mar 1938 managed by Carol Johnson last edited 27 Apr 2020

Daryl Surface
1950s – 2010s managed by Michelle Enke last edited 10 Apr 2020

Jane (Surface) Workman
abt 1847 Mercer, Virginia, United States managed by Clarence Surface last edited 31 Mar 2020

Timothy Douglas Surface
11 Apr 1964 Wilmington, Clinton County, Ohio, United States – 08 Sep 2002 last edited 22 Feb 2020

Unlisted Surface managed by Glenn Harden

Unlisted Surface

Unlisted Surface managed by Glenn Harden

Unlisted Surface

Unlisted Surface

Walter Abraham Surface
26 Jun 1890 Decatur, Illinois – abt 1962 managed by Star St. John last edited 1 Feb 2020

Unlisted Surface

John B. Surface
06 Apr 1799 Montgomery Co., VA – 01 Oct 1875 managed by Steven Mix last edited 3 Nov 2019

John Wesley Surface
10 Jun 1824 Blacksburg, Montgomery Co., VA – Aug 1899 last edited 2 Nov 2019

Leonard Earnest Surface
10 Apr 1919 Portland, Multnomah, Oregon, United States – 12 Feb 1997 managed by Mark Summers last edited 7 Oct 2019

Elizabeth M. Surface
28 Jul 1793 Shenandoah, Virginia, USA – 06 Aug 1869 managed by Kristin Bostrom last edited 12 Sep 2019

Ruby May (Surface) Wiggins
14 Jul 1903 Nash, Grant County, Oklahoma, USA – 03 Sep 2001 managed by Fred Cook last edited 29 Jul 2019

Martha M. Surface
abt 1862 Mercer County, WV managed by Clarence Surface last edited 28 Jun 2019

Henry Surface
1780 Shenandoah, Virginia, United States – 09 Sep 1826 managed by Star St. John last edited 19 Jun 2019

Adam S Surface
22 Nov 1774 Augusta, Virginia – 01 Sep 1858 managed by Bobi DeVore

Gale Jackson Surface
04 Dec 1907 Fenwick, Nicholas Co. , West Virginia, USA – 22 Jan 2000 managed by Rick Gardiner last edited 23 May 2019

Salome Surface
08 Aug 1796 – abt 1866 managed by Donald Pelton last edited 15 May 2019

Martin Surface
15 Apr 1763 Shenandoah, Virginia – 1830 managed by Kristin Bostrom

Mary Ann (Surface) Price
abt 06 Feb 1798 Montgomery County, VA – abt 1888 managed by Clarence Surface last edited 13 May 2019

Louisa Surface
1831 – 1909 managed by Donald Pelton last edited 8 May 2019

Pearl (Surface) Bailey
26 Nov 1884 West Virginia, – 19 May 1965 managed by Terri Haddox last edited 29 Apr 2019

John Lawrence Surface
19 Feb 1893 Newhouse Drive, Charleston, Kanawha County, West Virginia – 09 Apr 1971 last edited 28 Apr 2019

Ohlen Camden Surface
19 Sep 1894 Tariff, Roane Co., West Virginia, USA – 26 Mar 1954 managed by Rick Gardiner last edited 19 Apr 2019

Amos Gabriel Surface
25 Mar 1872 Roanoke County, Virginia – 04 Jan 1959 managed by Terri Haddox last edited 25 Mar 2019

Jacob Surface
17 Jul 1837 Indiana, USA – 12 Dec 1899 managed by Gail Eckels last edited 23 Mar 2019

Ada Virginia (Surface) Cobb
20 Apr 1905 Charleston, Kanawha, West Virginia, United States – 06 Dec 1989 managed by Terri Haddox last edited 20 Mar 2019

David Surface
abt 09 Feb 1804 Montgomery County, VA – 10 Jul 1863

Unlisted Surface managed by Julie Slade last edited 12 Feb 2019

Peter Surface
abt 1814 Virginia managed by Terri Haddox last edited 23 Jan 2019

Michael Surface
24 Nov 1809 Montgomery County, Virginia – 04 Dec 1889 managed by Cynthia Alphenaar last edited 21 Jan 2019

John Ulrich Surface
11 Feb 1799 Shenandoah, Page, Virginia – 06 Feb 1866 managed by Bobi DeVore last edited 13 Nov 2018

Abraham Surface
22 Nov 1836 Clear Creek Township, Warren, Ohio, United States – 13 Mar 1874 managed by Star St. John

Ida Marie Surface
18 Mar 1908 Kanawha County, West Virginia – 26 Jun 1950 managed by Terri Haddox last edited 5 Nov 2018

Unlisted Surface last edited 1 Oct 2018

Unlisted Surface

Unlisted Surface

Unlisted Surface

Unlisted Surface

Unlisted Surface last edited 8 Sep 2018

Unlisted Surface

Unlisted Surface

Unlisted Surface

Unlisted Surface

Unlisted Surface

Unlisted Surface

Elizabeth Surface
19 Mar 1834 Ohio – 06 Aug 1849 managed by Star St. John last edited 1 Jun 2018

Isaac Surface
abt 22 Nov 1836 Clear Creek Township, Warren Co., Ohio – 15 Mar 1888

Lynn Surface
aft 1910 managed by Helen Danielson last edited 19 May 2018

Unlisted Surface

Unlisted Surface

Eugene Surface
10 Jun 1874 Catawba, Roanoke, Virginia, United States – 03 Apr 1944 managed by Elizabeth Bush-Hoh last edited 24 Mar 2018

Andrew J Surface
1843 Ohio, United States managed by Craig Albrechtson last edited 15 Mar 2018

Morris Edwin Surface
03 Dec 1868 Red Lion, Ohio – 1922 managed by Star St. John last edited 11 Mar 2018

Sarah E (Surface) Meairs
20 Aug 1826 New Hope, Preble, Ohio – 18 Nov 1865 managed by Bobi DeVore last edited 10 Mar 2018

George L. Surface
abt 1859 Johnson, Indiana, United States – abt 1869 managed by Cynthia Alphenaar last edited 5 Feb 2018

Unlisted Surface managed by A Elliott last edited 30 Jan 2018

Kathryn Surface
1678 American, Allen, Ohio, British Colonial America – 04 Apr 1759 managed by Mandy Myers last edited 10 Jan 2018

Helen Surface
1896 Ohio managed by Craig Albrechtson last edited 22 Dec 2017

Adam J Surface
05 Sep 1821 Preble Co., Ohio – 03 Feb 1910 managed by Bobi DeVore last edited 7 Dec 2017

Noah Surface
23 Feb 1845 Ohio, United States – 06 May 1940 managed by Bobi DeVore

Annie (Surface) Comer
15 Apr 1908 Charleston, Kanawha, West Virginia – abt 1999 managed by Elizabeth Bush-Hoh last edited 21 Nov 2017

Emma J (Surface) Lane
01 May 1874 Catawba, Roanoke, Virginia, United States – 06 Apr 1958 managed by Terri Haddox last edited 17 Oct 2017

John W. Surface
abt 1833 Missouri managed by Chet Ogan last edited 20 Sep 2017

Unlisted Surface

Unlisted Surface

Unlisted Surface managed by A Elliott last edited 6 Mar 2017

Unlisted Surface

Unlisted Surface

Unlisted Surface

Unlisted Surface

Ellen Rebecca (Surface) Brown
abt Apr 1845 Montgomery County, Virginia, United States – 27 Sep 1913 managed by Vicky Majewski last edited 26 Feb 2017

Unlisted Surface managed by Kelley Soucia last edited 1 Jan 2017

George Wiley Surface
24 May 1860 Fremont Co., Iowa, United States – 16 Jun 1936 managed by Gail Eckels last edited 19 Nov 2016

Unlisted Surface managed by Jim Grossestreuer last edited 5 Nov 2016

Mahala J Surface
20 Apr 1841 Preble Co., Ohio – 26 Aug 1852 managed by Bobi DeVore last edited 8 Jun 2016

Adam Surface
01 Aug 1829 Indiana, USA – 1867 managed by Sherry Clendenon last edited 14 Dec 2015

Idora Surface
abt 1903 – abt 1922 managed by Teresa Coffman last edited 15 Sep 2015

Adam Surface
abt 1813 Warren Co. , Ohio – abt 1885 managed by Bobi DeVore last edited 9 Apr 2015

John M Surface
23 Mar 1822 Preble Co., Ohio – 11 Jan 1876 last edited 8 Apr 2015

William R. Surface
abt 1834 Roanoke County, VA managed by Roy Lockhart last edited 21 Mar 2015

Elizabeth Surface
abt 1809 Virginia, USA – 18 Jan 1886 managed by Sherry Clendenon last edited 22 Feb 2015

Unlisted Surface managed by Wendy Ott last edited 11 Sep 2013

Ron Surface
managed by Ron Surface last edited 31 Aug 2013

Unlisted Surface managed by Mohammed Advany last edited 1 Apr 2013

Jean M. Surface
abt 1925 Nebraska – aft 1930 managed by Linda Peterson last edited 28 Mar 2011

Please join us in collaborating on SURFACE family trees. We need the help of good genealogists to grow a completely free shared family tree to connect us all.

Dean’s List—Spring 2021 | Malone University

Congratulations to our students who have achieved Dean’s List recognition for the Spring 2021 semester!

90,000 “What Turns Her On” Yannicke Süstad Jacobsen – Look At Me

Province. The feeling of hopelessness squeezes all the senses. The only entertainment here is dancing in the local recreation center. There are sheep and sluggish children all around, playing incomprehensible games. And over all this, mortal melancholy reigns, leading many to despair or a life-saving escape to the big city …

Agree, this is a painfully familiar situation.

All of Russia is about the same picture, albeit more modern due to the presence of the Internet, cellular communications and cable TV, but the same gray and gloomy.

But in this case, we are not talking about Russia, but about Norway, whose cinema in recent years has been experiencing a stormy surge of fresh, unshackled ideas, trends and directions. And the picture of debutante Yannicke Süstad Jacobsen “What turns her on” , which will be discussed, is another testament to the uniqueness of contemporary Norwegian cinema.

For all its seeming “blackness” and vulgarity, the film Jacobsen is an example of light, almost humanistic cinematography. Entering the territory of Scarecrow , 400 Strikes and other notorious films about growing up, the director unexpectedly masterfully teaches us a lesson about tolerance, understanding and communication. Even the presence in the frame of a verbally reproductive organ, which plays an informative role rather than a pornographic or aesthetic one, does not interfere with the teaching of morality.

But the film is not only a lesson about ethics, but also a kind of game in reality. Observing the life-being of fifteen-year-old Alma, we sometimes cannot distinguish the life of a girl who is acutely experiencing a perbutational period from her fantasies.This, of course, is the “fault” of the director, who – together with the operator Marianne Bakke – created an everyday picture of what was happening and deliberately deprived the fiction of any expressive coloring. This is understandable. Can there be vivid fantasies in the provinces ?!

The last remark can even be made in reproach to the creators, but when you see Helena Bergsholm , the lead actress, I don’t really want to scold the picture even for some strong flaw. Her Alma is not only a victim of circumstances, but also a strong, whole person who has matured earlier than her peers.Of course, this is not Eva from the Spanish fantasy about the future, and not the phenomenal Jordan from Submarine , and even more so, not the unfortunate Eva Ionesco . And, nevertheless, Alma’s eyes shine with a kind of knowledge that is inaccessible to the rest.

In contrast to Alma, who is experiencing sexual attraction to her classmate Arthur (a very ambiguous ideal for lust), her friends are present in the film. Ingrid ( Beata Stefring ) takes life as it is.And Sarah ( Malin Bjerchovde ) dreams of becoming a human rights activist somewhere in Texas, away from their provincial hole. They kind of balance this out-of-the-box story (especially Sarah, who falls in love with the local junkie).

The film also contains, as an obligatory element, the mother of the protagonist, who, according to the established tradition, does not understand her teenage daughter. Henrietta Steenstrap did without tyranny Irina Ionesco , but she also feels a certain nervousness and bitchiness, which, however, is soon easily explained by the presence of a secret suitor.

The rest of the actors in this picture are present only as an element that characterizes the local flavor and madness of the situation (what is madness – it’s better to find out for yourself when watching).

Finally, I will say that if you once liked “Show me love” or “My little princess” , then “What turns her on” should be watched without fail. Others can appreciate this high-quality tragicomedy about growing up either for the sake of interest in contemporary Norwegian cinema, or out of love for this art in general.

Material provided by the site www.kino-teatr.ru

Battle of Dresses: Malin Ackerman, Sarah Sampaio and Emily Ratzkowski

Dress Battle

6820

19 February 2015, 07:45

Malin Ackerman / Sara Sampaio / Emily Ratzkowski

The battle of dresses today is very unusual, or rather, triple. Moreover, two of its participants appeared in the same outfits at the same event: we don’t know if the girls conspired to attract more attention to themselves, or it happened by accident. So, a deep orange Cushnie et Ochs dress was spotted this month on actress Malin Ackerman, models Sarah Sampaio and Emily Ratzkowski.

Emily and Sarah were the first to arrive at the Sports Illustrated party wearing matching dresses. At the same time, Ratzkowski slightly corrected its length, removing a couple of centimeters to make her slender legs look even better.As for accessories, she preferred sandals in a flesh-colored and of the same tone, a rectangular clutch, as well as a bracelet just above the wrist.

Sara Sampaio chose more sophisticated sandals for exactly the same dress – black, with a golden insert.

Well, Malin Ackerman demonstrated an orange dress Cushnie et Ochs (also slightly above the knee length) recently – at a Bvlgari party on Tuesday. The actress provided her outfit with golden accessories – a clutch, sandals and jewelry.

Whose version do you like better?

Margarita Doroshevich

Photo
Gettyimages.com/Fotobank.com

Soft Pastels Colors Vintage Sarah Malin Watercolor Art Lithographs Prints Garden Series Artist Signed Lot of 4 Watercolor Art & Collectibles aloli.ru

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Address: 182302, Pskov region, Pustoshkinsky district, p / o Zarechye, village Kholuny
Phones: 89113834038; +7 (81142) 2-12-49; fax 2-10-68 Reception phone: 2-19-90
Coordinates for the navigator: longitude: 29 ° 10’34 “E. d. (29.17611) latitude: 56 ° 25’22.82 ″ N (56.423006)

How to get there by train from Moscow: from the Rizhsky railway station by train Moscow – Velikie Luki, then by regular bus to the tourist center, or by taxi. Large groups are met at the railway. train station bus tourist center. The bus schedule is here

How to get from Moscow by car: Go along the M9 Moscow – Riga highway to Pustoshka, about 550 km, then turn to Pskov and go along the M20 Kiev – Petersburg highway to the tourist center (18 km).The tourist base will be located in front of the bridge over the Velikaya River, on the right side.

How to get there by car from St. Petersburg: Along the M20 St. Petersburg – Kiev highway, you need to drive about 435 km to the village of Kholuny, then along the highway a kilometer from the village, the road will cross the Velikaya River, passing the bridge, on the left side in the direction of travel there will be an entrance to the camp site.

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90,000 Film Review Sworn to Dark by Kickingrussian 13.08.2019

British director and screenwriter Paul Hayett’s film Sworn to Darkness (Howl, House of Tolerance) premiered at the FrightFest and was originally presented to the public under the title Heretics. Hayeth’s enthusiasm and desire to speak out on certain topics in genre cinema deserve respect, if only because this director began his career on the set as a make-up artist and organizer of special effects, but ambition led him to work on his own projects with small budgets.It seems that after the massive success of The Conjuring franchise, the theme of damned monasteries and nuns administering justice with the help of the cross should have become commonplace. However, everything happened exactly the opposite, and in horror the sub-genre received a rebirth, which is known as nunsplotation and in which the main emphasis is on near-religious conflicts that occur most often within the same location. Therefore, Paul Hayeth in this case did not invent a new genre of bicycles, but he learned to ride within the framework of existing screen clichés and stereotypes quite steadily.Believing and, most importantly, checking what was happening in England in the middle of the 17th century is hardly possible for an ordinary viewer, because of this, all God’s chosen female representatives serve not only as vessels for purity and virtue, but also have to constantly struggle with temptations and test the strength of devotion to the faith at the cost of their own lives. Having created the history of the tape together with screenwriters Conal Palmer and Gregory Blair (“Deadly Change”), Paul Hayeth was more striving to achieve a general atmosphere that could crush the viewer with his dullness and dark corners than to a variety of plot arcs for the performers of roles, which fundamentally did not differ much. on the screen.The feeling of creepiness from what is happening is achieved thanks to a secluded building located far from the conventional city and initially acquiring the form of a huge stone sack, from which not all characters will be destined to get out. The director plays up the traditional theme of atonement for sins and introduces the audience to the accursed place, which has its own by no means a godly story and in which human blood will constantly be shed in very large volumes. Therefore, “Sworn to Darkness” to a greater extent adheres to peculiarly presented visual ideas and constantly works out frightening and constantly showing sharp teeth prospects for all representatives of the holy monastery, where an obsession with an inner secret very quickly becomes a reason for fear, surveillance and general female hysteria in front of an incomprehensible evil.In the chilling prologue of Sworn to Darkness, Paul Hayeth introduces the backstory of events that will develop four decades later, when a young nun, Sister Margaret (Katie Sheridan, The Genie in the House series), conducts a ceremony to summon one of the devilish incarnations and brings for this bloody human sacrifice. This, according to the character Sheridan, should test the faith of the servants of the religion and strengthen them in opposition to the demon. A young novice, chosen as a medium, quickly becomes possessed and takes the lives of several holy sisters.An unknown entity takes possession of the dead bodies and they attack the killer, cursing her and forcing her to deal with Margaret. But the nuns manage to repel the devilish attack, this leads to the fact that one of them, Elizabeth, leaves the monastery forever and can hardly cope with her shock. The character of Sheridan eventually becomes the Reverend Abbess of this strange in all respects place, over which the seal of a curse already hangs. 40 years later, the city magistrate condemns Persephone (Hannah Arterton, TV series “Security” and “Versailles”) to death and accuses her of witchcraft.Hayeth acts here as a subtle connoisseur of ancient mythology and gives the main character the name of the Greek goddess, mistress of the underworld. Mother Superior Margaret (already Claire Higgins, “Hellraiser”, “Cassandra’s Dream”) interrupts the process and begins to blackmail the master (Michael Ironside) with links to the Inquisition, as a result the character of Arterton is sent to the monastery for re-education and further repentance for what he had done. There, the girl receives strict instructions from her sister Anna Francis (Sara Malin, TV series “The Bodyguard”, “Doctor Strange”) that one should not leave the territory of the monastery and not make contact with anyone.In addition to the protagonist, there are already several young nuns in the monastery, sisters Catherine (Emily Tucker), Adela (Amelia Bennett) and Emeline (Rosie Day, the series “Good Omens”, “Further Down the Corridor”), all of them to one degree or another are guilty of sins before the Almighty, and therefore they are harassed by the older servants of the Lord and perform the most difficult and thankless work. Almost immediately, Persephone begins to see much more inside the monastery walls than other girls can imagine, she feels the presence of a supernatural, a special kind of evil that can seep through the walls and cause a fever, leading to a very rapid death.The idea of ​​re-educating lost souls, which is the basis for launching the narrative in Sworn Darkness, is by no means new; for more than two centuries in Europe, there have been so-called Magdalene Laundries, where former prostitutes underwent rehabilitation through labor and prayer. In a sense, the theme of the church’s direction on the true path itself went to Paul Hayet’s hands and such a shelter could well become the place where the events of a horror film unfold, where women who have covered themselves with public shame are constantly waiting for correction and punishment.The curse hanging over the monastery provides additional support in the plot, in which only bony hands must be placed for complete fear, grabbing the central characters by the shoulders, strange creatures descending from the walls like spiders, and making the Priory a place where holiness is tested by blood and looming madness. The director pays a lot of attention not so much to the logic of the plot, which every now and then loses its logic, but to the production design, which provides the maximum amount of red liquid in the frame and rips out the eyes of the characters for greater intensity.The character of Claire Higgins turns out to be truly disgusting and keeps in suspense regarding her villainy almost until the very climax, in which the Reverend Margaret begins to skillfully and competently wave the cross to exterminate evil spirits. The director’s use of the lack of lighting and the abundance of candles in the frame of various sizes allows him to take numerous shadows as his allies, create a tense atmosphere and scare the audience with alarming frames in which the characters prefer to shout and act more than conduct theological conversations.The whole theme of the project for Hayeth turns out to be a great way to organize from the second act a gothic bloodbath and give out a merciless slasher. In general, most of the deaths in this project are of a truly metaphysical nature, a kind of game of defeat in a bloody massacre, the logic of which is sometimes not entirely clear even to the authors themselves. Despite the monastic outfits, all the characters in the picture look hysterical and scared to death by the female society, sincerely not understanding what is really happening and how far everything can go in this story.The exploitative style of the tape does not involve love lines in the frame, and the affair between the visiting merchant Ellis (Freddie Carter) and Katherine is needed more to understand the final details of the story than to add lyrics to the bloody streams of the story.

For audiences, Sworn To Darkness does not provide any specific directorial messages from Paul Hayeth, who prefers the tumultuous play of visionary layering. Because of this, the project takes on more features of a dream of a time when human life was worthless and could be a toy for otherworldly forces, in this case the looseness of the script lines is compensated by the originality of the place and the atmosphere shooting with fears.The script turns out to be a common problem for this tape, which promises a lot for the audience, but is scattered behind the external manifestations. A mixture of mysterious nuns, fallen young girls, witchcraft and a general evil spirit hanging over everything that happens, does not fully detonate and leads the tape along a completely predictable path of development.