Ted Gartland first walked into a newsroom in 1969 to start his first shift as a night copy Boy for the Boston Record American in Winthrop Square downtown. Forty three years later, as an Assistant Chief Photographer for the Boston Globe, he exited the newsroom on Morrissey Boulevard for the last time with his standard end of shift expression: "Ladies and Gentlemen, I'm goin' Elvis".
In the interim, Gartland's camera was his view of the world, and the people and events in it, from Boston to Berlin, Deerfield to Dublin, Lowell to London, and Provincetown to Paris.
And he's got the pictures to prove it.
A native Bostonian, Gartland viewed his work simply. A local kid working for the local paper, primarily telling local stories. It was work he considered an honor, a privilege, and a responsibility, with a simple mandate, "valid information in a timely fashion".
Sometimes, the world, and it's people and events, comes right to town. Gartland has photographed the Rolling Stones on stage, in performance, through the '70's, 80's, '90's, '00's, and teens, and, unlike the band, has gone home and slept in his own bed after each show.
" I don't take pictures", Gartland says. " I don't take anything. I make photographs, and I share stories".
Here are three:
'Alicia': Alicia was going down to New York City to ,make some noise with that saxophone. She wanted some visual to accompany the audio. Alicia knew the odds were stacked against her, but the resolve and determination flashing from her eyes announced her intention to call the tune.
'Vinnie': I came across Vinnie camped in the doorway of an abandoned South End building. He told me he originally moved here some years ago to work construction. He got laid off, and the bottom fell out. I was struck by the dichotomy of dignity and despair in his eyes.
'Julia': Julia was doing investigative work for a local agency. On a casual afternoon, off the clock, I was struck by the nourish quality of the light on her face. It seemed complimentary to her work. The good stuff is always right in front of your eyes. F8 and be there.
Since leaving the newsroom in 2012, Gartland has recorded and released, under the name Nick Danger, three albums of what he refers to as rock n roll music. "Junkyard Jamboree, (2015), "Everybody Gets Touched, (2017), and "No Matter What", (2020).
The music is available on YouTube and all the usual platforms.
Photo: Faith Ninivaggi
For the past several years, I have been exploring the way light and color play upon and through trees and the feeling of the light and air moving through the branches of trees. My fascination with painting and drawing trees started in my hometown outside Buffalo, further developed when I lived in Seattle and New Zealand, and continues now that I live in the Boston area. In each of these locations, I gathered inspiration and reference material while hiking and camping.
Throughout the changes and challenges in life, I have always been able to feel refreshed after some time in the woods. It helps me clear my mind, release some stress, and reevaluate priorities. Returning to the studio with my images and memories, I am able to relive and recreate the feelings I experience in the woods and among nature.
These three paintings represent each time I moved to a new city (Seattle, Christchurch, and Boston) and experienced the challenges that go along with navigating life in an unfamiliar place without connections, friends, or family. In each case, I found solace in the trees and nature around me.
Tamblyn Gawley Griffiths
My paintings are a window on our world; serious, humorous, grotesque and serene. They are an observation and a passion, an escape and a commitment.
Some paintings use the expressiveness of vegetables to narrate, in a darkly humorous way, stories of the human condition. I sometimes write accompanying poems or narratives, though I encourage viewers to find their own stories within the paintings. My landscapes and creatures are an escape back to places I've been, and a commitment to the natural world I love so well.
Throughout my life, I have sought mixes of art and the natural world. At Antioch College, I studied art, biology and geology. While pursuing an MS in entomology, I illustrated scientific manuscripts, and co-produced a video on Insects in the Arts. During and following my Ph.D. in environmental toxicology, my creative efforts focused on fiber arts: sweaters, rugs and table linens.
“Oh, the things we’ve seen.” I worked for U.S. Geological Survey, retiring as Chief of Staff in the Ecosystems Mission Area in 2015. Upon retirement, I moved to the Boston area, eventually settling in Medford.
I began painting in 1997, first in watercolors, and then in oils starting in 2009. I often bring marbling, printing, mosaic and collage techniques into my work. I started showing in 1999, and had my first solo show in 2001.
In workshop and class settings, I studied painting under Jill Banks, Maud Taber-Thomas, Christine Lashley, Gavin Glakas, Lassie Corbet, and Arnold Lopes while living in Virginia. Since moving to Massachusetts, I have studied under Alexandra Rosenman, Judith Prager, Diane Novetsky, Todd Bonita, Alastair Dacy, and Chris Volpe.
B.A. Antioch College 1975
M.S. Univ. of Wisconsin, Madison 1978
Ph.D. Cornell University 1986
I was trained to capture the essence and character of the subject. These are artists that I have worked with or who have been a major influence on my life. It is about showing the personal relationship with the subject of my work.
I am available for Private Commissions.
In the three works in Art Heals, Gay explores the process of healing. The images pause on the edge between chaos and calm. Silence and noise. An envelope of time can exist in mental and physical realms. Recently, for Gay, taking a bath and painting have provided refuge and created glimpses and clearer perspectives of brighter horizons that lay ahead.
Fragility and strength surround us—sometimes in equal measure, sometimes in dramatic unbalance, and often in direct relationship. Our fear may arise in response to another’s strength, yet within that fear we find our own strength, and from it, hope. Regardless of which emotion is dominant at any one moment, it will change, as impermanence is the one constant in life.
In this series, Gillies strives to align physical and mental realities, exploring the temporary and human connections between fear and hope and each other. Her work embodies strong, honest responses to those emotional environments.
This collection is created with a mixture of plaster and pigments in a technique based on traditional frescoing.
Sophie Glikson Cahen Creative Pathways
I embrace Art as a powerful language and a healing force. My inspiration to paint is intimately connected to the creative power from the Universe. I believe that images come to us as guides from the invisible world. They reveal the more to help us ignite the transformative potential within us. “Creating light”, the painting chosen for this virtual show, came to me as a healing messenger after the September 11 terrorist attacks. The message this painting conveyed back then, resonates true to our current time of uncertainties and many losses. The art-making process felt intrinsic to the emergence of this messenger of light. I began this process with a rediscovered old cutout figure from an unknown magazine and integrated her within the black oil paint; rubbing the black silky strokes with my fingers, pushing on, again and again generating new, from the center out; embedding crushed rose petals as an earth regenerative energy toward creating light. This painting tends to evoke a sense of hope, it activates a certain energy which can be accessible to the viewers. I began painting in 1982 when I moved from Paris to Boston - a time of self- discovery. I have been exhibiting in the United States, Puerto Rico and France. Healing and spirituality are both core elements of my approach and my artwork tends to be semi-abstract and evocative. I like to explore a variety of mediums, lately mostly with gouache, pastels and mixed media with natural elements. In 2014, I began to develop art installations that involved viewers' participation. As an artist, expressive art therapist and life coach, I believe that we impact our world with even the smallest action. It ripples out. For more information about my art, coaching, and expressive art therapy practice, please refer to https://www.sophieglikson.com
The Under Fire is a play on words, it combines the feeling of being "under fire" with the perception of a banked fire, of live coals glowing under ash. This painting is about how I often keep my most vulnerable and difficult feelings under ground. Materials, texture, color and imagery are essential elements of my visual language. Painted in a neutral pallet, this piece has a highly saturated burnt orange underpainting that tells of submerged raw pain. By mixing sand with a gel medium and cadmium orange, then painting it mostly over in a neutral gray, but purposely leaving a pintamento color discovery, I both reveal and conceal my feelings. The sand communicates the rough visceral texture of experience. The top was created with newspaper articles about the Corona virus, gessoed over in white, then painted in ocher and gray, soothing the intensity of processing this year with neutral colors. This image, to me, of a stone planted in the ground says it is important to stay grounded. The above and below the horizon line are in different color palates because what I show to the world is more calm and presentable than the rawness of what I feel.
In Art Heals:
During the year of living with covid, painting has become one of my main activities, made especially enjoyable by the friendships developing in our zoom group of painters. Three times a week, I can get advice on a painting, but also compliments on my overly long hair early in the year, or my bald self when later doing chemotherapy. “Self-portrait with chemo” documents that latter period, capturing the harshness of chemotherapy while also celebrating how lucky I am to have caught this early so that chemo could do its healing.
“The Knitting Lady” recognizes my lifelong connection with knitting – a healing craft both for its tactile relaxation and the artifacts I produced. This painting captures me knitting during covid as winter approached – bundled up and warmed by our fire pit, with a glimpse of the house inside. It’s based on a photo by a friend whose wife sat across from me on the deck with her own knitting. The weeks spent painting inside after it got too cold for back deck visits kept my head in the pleasurable afternoon, providing one of my most sustained experiences of the healing power of art.
In Facing You:
The Math Professor started as an acrylic painting from a vacation photo at Lake Loraine in Banff. But when I redid it in oil, I left out the background in favor of an old fashioned slate black board. It took a long time for my husband to decide what to put on the board, but he finally gave me some examples of the “polynomial hierarchy” – one of his important results as a computer scientist – and I inserted it to complete the work.
Mother of the Groom was based on two photos of my sister. When she sent me a picture of herself in front of the flowered doors at Sagrada Familia in Barcelona, I loved the doors and started preparing canvases with that as a background. But it wasn’t until I caught her in another photo, happily relaxing after her son’s wedding, that I felt I had the right image of her to put in front of the doors.
"Influenced by nature, fractal theory, and reaction to various events, Catherine Gruetzke-Blais works from her studio, at Howard Street Studios in Framingham, in a variety of media including acrylic paint, collage, and watercolor. Color interaction, rhythm, and texture are always very important and present in her intuitive work."
When I saw the Call for Art for "Art Heals," I knew I needed to apply. I completely agree with the idea that expressed feeling through visual art can transform the artist and communicate with others. Visual Art is indeed a language that is put forth for others to contemplate and interpret. Besides my incessant need to abstractly depict nature, there are times when either personal or political events happen that are too important to ignore. I am then compelled to express my reaction to them in my art. I know I have achieved this when I often cry at their completion. I can then present them for others to consider.
"Vulnerable" was painted after a long pulmonary illness that kept me out of work and in the hospital for a while. I recovered right before the Coronavirus Pandemic struck. This virus scared me and brought up ideas of vulnerability, which ultimately lead me to think about being a woman in general. The result is this painting./ "Grey Area" is about the recent presidential election. I was thinking of the dueling parties in the United States (the blue and red mixed to be purple), as well as the dichotomy of peace and war (the black and white). And in the center, I was thinking of race issues (the beige and dark brown). Each section of color infiltrates the other. Things are not perfectly delineated, hence, "grey area." Within the grey area, there is room for discussion, but still so much work needs to be done to achieve much needed harmony in this country./ "Hoping for World Peace" is a mixed media tessellation using collage and acrylic paint. I was very much thinking about how I am a cis American female when I created this piece. I am stating my potentially biased perspective, as I know there are many perspectives on any subject. There are stars and stripes, and my recurring flower doodle. Please notice that there are two angels looking up at (dreaming of) the peace dove (above), then to the left, there is an image of children holding hands around the globe. I wanted to create something that was "pretty" to look at, but when you look a little further, there is something more.
Dark Night of the Soul: Transmuting emotions
I am an expressive arts therapist who has worked with older adults and have helped them in their grief process. I myself have struggled with depression and anxiety for most of my life, Art has been a healing journey for me.
My healing is very much related to mindfully observing dark feelings and allowing them into the light. In this painting during the pandemic I experienced a deep cave with magical animals, angels, dolphins and creatures flowing in the
healing waters and basking in the light. The light of awareness enlivens and healing begins in the depths of loneliness and fears, sparking joy and magic.
Paul Klee writes “ Everything vanishes around me, and works are born as if out of the void.”
My work is a mystery to me and a healing adventure. It
never fails me.
“Moonset on the Libyan Sea” invites us to meditate and wonder at the infinity of the universe as the light of the stars and the setting Moon reflects silently off of the seemingly boundless sea. “Mesquite Flat Dunes” highlights the beautiful natural curves of a dune field in Death Valley near sunset, providing a softer echo of the jagged mountain forms in the distance. Some people explored these dunes earlier in the day, but all that is left now is their footsteps. Again, I think this is a tranquil scene that invites us to marvel at and be restored by the wonders of our natural world. Finally, “Caught One!” calls us back to a simpler time when all that mattered was time spent with friends enjoying simple pleasures like being in the outdoors and casting for fish. It’s still out there, waiting for us to go back!
I have enjoyed photography since I was a boy and still have happy memories of days spent in the dark, entranced by the magic of photographic chemistry. Like many in my generation, I have experienced the wonderful thrill of watching images emerge from a blank sheet of paper in a developing tray. Although I have long since moved on to digital photographic technology, I still enjoy discovering and recording beautiful and interesting moments.
I find myself especially drawn to subjects that offer strong patterns, shapes, textures, contrasts, and moods. Portraiture, in addition, offers the joy and excitement of a joint project between photographer and subject to create the final result.
Weaving using basketry techniques feels primeval both in the sense of belonging to an immensely early period of human history and as well as instinctive. This instinct, only recently surfacing in my consciousness, has provided a means of expression that was inaccessible to me in the past. I thrive on the connection I feel with the natural world and ancient peoples as I weave, while striving to connect with a modern audience with my commentary on personal, societal, and environmental issues.
A recurring theme in my work is containment – keeping things under control, contained, safe, regulated, in a vessel, and then sometimes, not – letting them go, letting them break free, explode forth. I like to consider interior and exterior spaces, the hidden and the revealed, the personal and the societal.
Materials often determine the content of my work. A moderately obsessive collector since childhood, I keep items that I think I will find a use for: broken umbrellas, used kinesiology tape, empty pill bottles, remnants from reed baskets, old clothes and fabric scraps. Who knows what stories I can tell with my collection? I’m still figuring that out.
I’ve been living with persistent pain from an assortment of causes for most of my life. I am not alone. Most of us experience pain intermittently, some of us bear with it regularly and others survive it incessantly. We all witness it. Whatever its source, whether physical, psychological or metaphysical, pain is dangerous, debilitating, draining, depressing.
Wouldn’t life be so much better if we could only grab onto pain, remove it from the place it is causing suffering and contain it safely away?
That’s what I am attempting to do with Pain Containment Pod #1: Right Knee and Pain Containment Pod #2: Left Foot
Materials for #1: hand-dyed reed and bamboo skewers, elastic resistance bands, acrylic paint, glucosamine chondroitin, naproxen sodium, pill bottles, ginger tea wrappers, turmeric capsules, elastic bandage, hypodermic syringe.
Materials for #2: fiber splint, fiber rush, kinesiology tape, medical tape, hemp cord, artificial sinew, wire, fiber-reactive dye, acrylic paint, plastic arch support from orthotic, Icy Hot applicator, naproxen sodium, turmeric capsules, acetaminophen, acupuncture needles.
I was born in New York City. When I was four, my parents divorced and my mother and I moved to England. Throughout my childhood and adulthood, I moved between England and the United States. In both countries I was exposed to a highly cultured environment, and to influential people in the psychoanalytic field. My parents knew the Freuds both in Vienna and in London. Despite their expertise, I felt isolated and unseen. In order to "fit in" and feel accepted, I repressed the life-loving child within and became a little grownup. Within my adjusted persona there was deep sorrow and a fractured inner world.
The incentive motivating my creative endeavors is to make something integrated and meaningful out of my uprooted and fragmented past. Writing has been an important activity for me, but with endless revisions and rarely with the sense that I have captured what I am trying to express. In contrast, the activity of painting, of physically putting down shapes and color, is satisfying. This process removes me from the abstract world of the mind into the more sensuous and primary world of color and form. However, portrait painting is often a struggle, because my intention is to express the deeper, and often darker emotions hidden beneath the surface.
I studied English Literature at Cambridge University (UK), getting my BA and MA, and later spent one year studying at the Museum of Fine Arts School, Boston.
My email is email@example.com and if anyone is interested in purchasing my work, please do contact me. I'm more than happy to show other works of landscape, and collage....when Covid restrictions are lifted .
solo artist in UNMASKED
Pieces in Art Heals:
WEDDING – Painted in anticipation of the ineluctable lightness of finally leaving the single life to be with my soul mate. I fly from the dark night of roommates and bachelorhood to the bright sunshine of domestic fulfillment (really.)
MY BROKEN HEART – Painted while still reeling from the abrupt realization that all I had hoped from an 11- year romance was hopelessly beyond reach and that either I foolishly allowed to go on far too long or lost faith in too early, depending on what I was feeling from moment-to-anguished moment.
The purest virtue of music, I think, is that it has the power to reproduce in the listener the exact mental state or mood of the composer. Painting can do something similar: capture the beauty – or for that matter, ugliness – in the world with such fidelity that seeing the painting produces the same reaction as seeing the thing itself. Abstract painting can convey these sensations without reference to nature at all. Music and Painting both achieve this directly, without reflection. My paintings are not like that. They are more akin to literature. Just as literature can depend heavily on visual imagery, my paintings lean on thought and language. They oblige he viewer to reflect on the imagery in order to “get it.” I’m not talking about deep or challenging brainwork. My ambition is to engage the mind not put a strain on it. I have serious artistic intentions, but I don’t take my art too seriously. Rather, I experience the creative process as playful tinkering at the intersection of two worlds –the visual world and the world of language, inviting viewers to meditate on or have a conversation about what they see.
The truth of a person is inner as well as on the surface. I’d like to catch that in a way that may fuel a spark of recognition or connection in the viewer. In my portraits done from old family photos, painting can be a personal journey to get to know someone I never met or perhaps met long ago.
Flowers are one of those wondrous things. I enjoy expressing the deep connection I feel to plants of all sorts, a connection which has developed out of life-long interests in gardening, hiking, and nature study.
My paintings are not meant to be “realistic” or “photographic”. They refer to landscape, without being deliberately pictorial or totally abstract. They are not meant to be “pictures of nature” as much as they are expressions of “what nature leaves me with.”
Originally from Madison, Wisconsin, Kay has lived and worked in the Boston area for 44 years. She was first a ceramicist and then an art therapist working with children in downtown Boston. After raising a family she turned to her own work, studying with Marlene Oliver, Brett Gamache, Claire Walker Leslie, Catherine Kehoe, and others. She paints landscapes, floral and botanical studies, and portraits. She is known for her use of transparent color, atmospheric effects and lyrical and energetic brushwork. Recent work focuses on landscape paintings inspired by local conservation land and wildlife sanctuaries and also on imaginative portraits based on old family photographs. Her work is in private collections nationwide.
Kay is currently available for commissions and welcomes inquiries.
A Group Show Featuring Work by the Artists behind the BELMONT ART ASSOCIATION's wildly successful
“Transforming Belmont” Public Art Project:
Adria Arch, Rocky Cotard, Nadya Cuevas, Anne Katzeff, Liz LaManche, Grace Julian Murthy and Ian Todreas
Funded by a grant from the Belmont Cultural Council
Thanks also to Anne Mahon