In a long lineage
“Vincent’s Slip” (oil on canvas), by Wendy Edwards, in her show “Flourishing,’’ at the Currier Museum of Art, Manchester, N.H., through April 5.
The museum says:
“The Currier presents eight large-scale paintings by New England artist Wendy Edwards (b. 1950) in the museum’s new Concourse Gallery. Let yourself be taken in by the grandeur of these sweeping canvasses, depicting abstract flora and human forms rendered with rich and surprising colors. With a commitment to expressivity and the luscious material qualities of oil paint, these works assert Edwards’ place within a lineage shaped by Edouard Manet, Vincent van Gogh, and Georgia O’Keeffe.’’
They have summer there, too. NE Delta Dental Stadium, Manchester, in August 2021
— Photo by Ynsalh
Human character in glass
“Brilliant” (blown glass and anodized aluminum), by Massachusetts artist Dan Dailey, from his show “Impressions of the Human Spirit,’’ at the Currier Museum of Art, Manchester, N.H.
-- Photo by Bill Truslow
His site says:
“Dailey's drawings and the objects they inspire depict human character and the world we inhabit, with many familiar forms rendered iconic. His myriad series explore extraordinary concepts with a broad range of themes and styles. These attributes and his forty years of achievement and recognition have made Dan Dailey a prominent artist in the history of glass, and unique among American artists.’’
Manchester, N.H. along the Merrimack River, whose water power launched Manchester into becoming a major 19th and early 20th Century industrial center .
-- Photo by Graham Nadig
19th Century worker housing in Manchester. Some of the mill owners were rather paternalistic, for a while.
If only we’d worn wetsuits
“The Wake” (1964), by Maine-and-Pennsylvania-based painter Andrew Wyeth (1917-2009), in the show “Stories of the Sea,’’ at the Currier Museum of Art, in Manchester, N.H.
The museum says the show:
“{B}rings together a number of extraordinary loans with a wide array of artworks and objects from the museum’s permanent collection in order to explore various maritime themes.
“The selection spans the 16th Century to the present day, and includes dramatic seascapes painted in the Romantic tradition; images of steamers and transoceanic travels, referencing migration and tourism; representations of harbors and shipyards; and poetic tributes to the hardships endured by men working at sea.’’
Can’t trust some photos
“Untitled” (gelatin silver print), by Hein Gravenhorst, in the group show “Seeing Is Not Believing: Ambiguity in Photography,’’ at the Currier Museum of Art, in Manchester, N.H.
The museum says:
“Many photographers play with ambiguities – creating images which question what is real. Perspective, lighting, and close-up details can radically distort the look of objects. These distortions can be both bewildering and delightful.
“This exhibition explores photographs that make us question what we are looking at. Still lifes, abstract images, and manipulated photographs heighten our sense of wonder. Can we ever trust what we see in a photograph?’’
Temporary housing
“Tent Mama” (oil on canvas), by Karen Seapker, on view through Feb. 12 at the Currier Museum of Art, Manchester, N.H.
Fun house
“Time for You and Joy to Get Acquainted” (wooden armature, fabric, polyfoam), by JooYoung Choi, in the show “State of the Art,’’ at the Currier Museum of Art, Manchester, N.H., Oct. 20-Feb. 12.
This piece of art is from the Crystal Bridges Museum of American Art, Bentonville, Ark.
Huge buildings in Manchester along the Merrimack River that comprised the Amoskeag Manufacturing Co. complex. The company grew in the 19th Century into the largest cotton-textile facility in the world.