“Local artist and doll-maker Beth Robinson is co-curator of The Art of Horror, a juried show at the S.P.A.C.E. Gallery on Pine Street in Burlington. She came to the VPR studios to help define the “dark art” genre, what to expect at the Art of Horror exhibit and about her own Strange Dolls.
The exhibit kicks off with an opening reception on Friday, October 3rd at the S.P.A.C.E. Gallery on Pine Street in Burlington’s South End.
Broadcast on Thursday, Oct. 2 at 4:50 p.m.”
SPACE Gallery is located at 266 Pine Street in Burlington, Vermont. You are welcome to come in to see the show Wednesday through Saturday from 12 – 5pm throughout the month of October.
Co-Curator, Sarah Vogelsang-Card and I, spent an exhaustive day hanging the 2014 Art of Horror exhibit. We are so excited about the opening on Friday, we can’t wait for everyone to see the amazing dark artistry that courses through the veins of Vermont artists.
This photo is where my sculpture USED to hang in my studio. It is now finished and on the gallery wall. When you meet her, notice her smell. Her scent is overturned earth and dead flowers.
Hope to see you all Friday from 5 – 11pm for an incredible explosion of dark art, performance, fire, metal… and tacos…. called The Art of Horror!
Every year I curate a group show called the Art of Horror. And every year it grows larger and more amazing because of the people that want to get involved.
Because of all the spinning plates, I can’t always get my own work done for the show. But this year is an exception. And an important one. I have been working on this girl for months. She is huge for me. Physically, emotionally. This is where she started from>>
The Art of Horror opening is October 3 from 5 – 11pm at the SODA PLANT. Full details below….
The Art of Horror, A Juried Group Show
The S.P.A.C.E. Gallery and Soda Plant Hallways
266 Pine Street
Opening reception: Friday, October 3, 2014 from 5 – 11pm
Exhibit Duration: October 3 – 25, 2014
Gallery Hours: Wed – Sat, 12 – 5pm
The S.P.A.C.E. Gallery and Soda Plant are pleased to present a juried group show for Halloween. Guest curators, Sarah Vogelsang-Card and Beth Robinson, have chosen work that best defines the “art of horror.” Works in the exhibit will represent the beautiful side of decay, the finer points of blood letting, and that special something inside a depraved mind.
You are invited to kick off the Halloween season at our opening reception on October 3 from 5 – 11pm. Costuming is highly encouraged. For one night only, indulge your senses with bloody burlesque, fire dancing goddesses, spirit conjuring performance art from Shakti Tribal Dance, Dread Shaman Manic Dan, Graveyard Girls, and Merrique Hysteric, Aeshna Mairead Dance.
Top off the night (from 9 – 11pm) with brooding metal from local favorites, Cruciferion and Vultures of Cult, performing in The Backspace. Visual noise provided by The Retinal Exploitation Cooperative.
Suggested donation: $5 at the door. This event is not recommended for children but is open to the general public.
I have a confession to make: I have lived in Vermont for 19 years and I have never seen a Bread and Puppet performance (which is positively shameful considering that they are top 5 in a long list of important visual inspirations for me). This summer I made it there.
The museum was my favorite place – an old Vermont hay barn filled to the rafters with hundreds of puppets, mixed media installations, sketches and paintings, covering the legacy of the troupe.
The puppets on the second floor are as tall as the haybarn. Do not forget to look UP when visiting the museum.
(Click the thumbnail for larger images)
After the museum we shuffled back to the ampi-theatre (a bowl shaped rolling green shown behind the stilted gentleman below) and wandered around from sideshow to sideshow. These shows happen at the top of the verdant “bowl”:
People kept telling us to go into the woods. The way they were phrasing it, I was certain that we were going to encounter an unexpected zombie attack. But that was not the case. What lives in the woods is a touching memorial to all of the people who have worked for Bread and Puppet Theatre and have died. Each artist has their own little structure, like a teeny house, which serves as an effigy.
The “Nothing Is Not Ready Circus” takes place in the grassy amphitheater, in front of a school bus, and comes with a strong Marxist political viewpoint that feels very old world at first but then ties in to current events. It is very Vermonty and liberal so if you have terribly conservative friends or family members, this may not be the event for you.
Afterwards there is a performance art piece called “Pageantry” that takes place in an adjacent field. It is far more abstract than the circus, very slow moving and beautiful. The way the artists use the landscape to enhance the scope of the performance is amazing. The performance I saw was about the recent tensions in the Gaza strip.
The show commences with its namesake: slices of hearty bread, smothered in a yummy garlic, olive oil and lemon juice dressing called “aioli”. Served for free and encouraged to share.
“The name Bread & Puppet is derived from the theater’s practice of sharing its own fresh bread, served for free with aioli, with the audience of each performance as a means of creating community, and from its central principle that art should be as basic to life as bread.” (wiki)
These Soul Eaters are close sisters to the pieces I made for Valentines Day. They are equally inspired by the spirit of the Egyptian Demon, Ammit. Blackened. Soulless. Hungry. She will not be satiated.
Each sculpture stands 28 inches tall and is mounted to a wood base. She is made from recycled materials: crab pinchers, snail feet, chain, fur, plastic bags, plaster, cheesecloth, rubber… and a nice donation of hair from Lord Gallows.
The exhibit commemorates the 300th anniversary of the Peter the Great museum in St Petersburg, Russia—the Kunstkamera. The Main Street Museum is re-making the display cabinets in eclectic homages known to many as “cabinets of curiosities.”
My bird dolls and prints will be on display as a part of this celebration of our historical obsession with “natural and human curiosities and rarities”.
“We’ve lost our sense of wonder and participation in museums. We go into museums and are passive,” Ford said. “Wall labels tell us, often, what to think as much as they explain; audio tours shuffle us through; and lines are drawn between the arts, science and engineering of an era, as if they existed completely independent of one another.” So Ford has arrayed in his museum an assortment of the eccentric, the lost and forgotten relics of other eras” – Curator, David Fairbanks Ford, interviewed in Art Notes