June 2024

Run and Return/ רצוא ושׁוב

Jay Smith

MAY 31 - June 28


Opening Reception on Arts Night Out

רצוא ושׁוב (ratzo v’shov) is a Chasidic concept that emphasizes our dual desires and tendencies to “run” to the divine, to cleave to Gd and escape our earthly existence, and to “return” to our mortal bodies and material world, finding divinity where we are. As Rabbi Arthur Green describes it: “Opting for either world…can only lead to prolonging fragmentation. We see spiritual ebb and flow, moments of absence and moments of presence, as central to the human religious situation…can we step beyond conflict and see the thing as rhythm?” (After Itzik: Toward a Theology of Jewish Spirituality, 1971)

As a trans, American Jew living in a country and time where trans bodies are under threat, and where Jews are implicated and engaged in extreme violence, Jay Smith seeks to explore the pull towards and push from their tradition. Smith’s illustrations grapple with their relationship to Judaism, naming explicitly the comfort, healing, and wisdom that their tradition has gifted to them, while at the same time bearing witness to the tradition being twisted to justify death, exclusion, and alienation. They seek to reclaim their tradition from extremists and cultivate protective Jewish magic for their community: trans Jews in diaspora. Their work asks the questions: what does it mean to run to Gd when we are responsible for immense suffering, and what does it mean to return to our own bodies when they no longer feel safe?

May 2024

COALESCENCE

NORTHAMPTON HIGH SCHOOL EXHIBITION AND SENIOR SHOW

MAY 3 - MAY 29


Opening Reception on Arts Night Out

Come see Coalescence! The exhibit showcases the artwork of students enrolled in intermediate and advanced-level visual arts coursework at Northampton High School! All foundation classes will have work displayed in the school display cases for the month of May and installed by the students themselves.

A curated selection of visual art from art classes taught by Zoe Sasson and Louise Martindell PLUS Senior Honors Art Shows.

April 2024

Off the wall

curated by artist Melissa Stratton Pandina highlighting local muralists

March 30 - April 29


Opening Reception on Arts Night Out

We are living through a Mural renaissance. Between mural festivals, Municipal investment and private commissions drab spaces are now dripping with color. Murals are the place were fine art and street art combine. Fine artist and Graffiti artist are coming together to share skills, visual languages and create a vibrant art seen.

But what do these creative do during the cold months when outdoor painting is not an option…. They return to the studio. Off the wall is an exploration of how muralist create art in their “off time.” This collection includes graff work and abstract work, Realistic and stylized work. By comparing their mural work to their studio work, one can see more of the thought process behind the making of art. For while the technique differs, the mind behind it remains the same.

March 2024

Archive of Ambiguity

Boram Kim

March 2 - March 27


Opening Reception on Arts Night Out

Bo Kim excavates and re-examines photographic histories and museum archives of the past. By closely reinterpreting them through her research method, she rethinks the institutionalized meanings beyond the historical events of the past with an artistic perspective. Through the collection, analysis, and structural rearrangement of archives—based upon historical, natural scientific, and anthropological—sources, the artist aims to capture the moment of a new art form of her own. The specimens in the museum symbolize the institutional coldness of itemization, quantification, and the reduction of human beings to labels and numbers in hospitals, schools, and governments. The taxidermy in the museum participates in many dichotomous conversations: life and death, beauty and ugliness, categorization and uncategorizability. The tension between these dichotomies is like the tension that exists between Korean and Western culture. The friction between normativity is not only within the artist herself, but also in our society at large. Bo Kim realistically draws copies of photographs in the archives of museums using traditional materials in the artist's possession, and explores the elements of records that represent institutionalization—such as tags, strings, and descriptions. Kim points out and analyzes that the objective truth presented by objective historical documents can be quite ambiguous and distorted.

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