“NO MAS” : Paul McLean

PROGRAM CALENDAR [BETA]
PROJECT TIMELINE: April 7-14
ARTIST RECEPTION: Saturday, April 7, 7-11PM
OCCUPATIONAL ART SCHOOL SESSIONS: TBA
CLOSING: Saturday, April 14, 7-11PM

Since late September, 2011, I have been co-organizer of Occupy with Art, an affinity group of the Arts & Culture Working Group of the New York General Assembly for Occupy Wall Street. The Occupational Art School is emerging from this scenario, as a collective and individual proposition, a shared imaginary, a hyper-real construct for a 99% art world, or maybe even a 100% liberation of art, for all and from all. Its appearances are momentary, like a ghost or a shade of a memory. Fortunately, we have mobile devices with powerful still- and moving-image cameras built-in, now, and other networked “capture” devices that can virtually prove the existence of such non-things, as simulations, as they happen. If we piece enough such events together, we can build a true story that exists beyond fact and fiction, as a becoming that is also a teaching about the impossible being made possible, as art and occupation. The medium is dimensional. Time is the only Object, and everything else is the Subject. This art is for humans, and it is free. We have nothing to lose, except either/or. 

SUBTEXT IN RE-PRESENTATION
[1] In the End, the Hydra Kills Hercules [and the Other One] (“I Love You, Monster”)
[2] Nothing Is Transparent, Really & It Is OK [Mountain = Painted Mountain] (Matterhorn Project)
[3] Main Street Has No Dead End (Concentricity Projects)
[4] West Virginia, Blood & Bone (The Orphanage of a Refugee’s Home)

Program: The Artist will work on one image [potentially objective], creating multiple iterations, while ex-positioning or coursing amongst multiple seams of related immaterial, IRL, IRT, for the purposes of generating a documentation for digital environments. This is not a performance, nor is it installation.

Paul McLean is an artist who works in both new media and traditional fine art. His research interests include media philosophy, specifically pertaining to time and systems; arts management, art, and cultural economics; and the convergence of 4-D methodologies among military, political, business, and social sectors. His web site is artforhumans[dot]com. McLean is also a co-organizer of Occupy with Art [www.occupywithart.com].  

“possible and remembered time” : Daniel Kliewer

Reception: March 31st, 2012, 7-11PM
One night only.

My present work is about expressing the malleable nature of time and how the mind can alter and transfigure events in future and past parts of our lives. When I paint I often remember the steps and methods used and upon looking at the image at a time in the future, I may go backwards and deconstruct the image in my mind, in a similar way to how returning to a location might remind a person of things that happened years before and bring about thoughts and understanding that were unavailable at that time. When we remember things that occurred, like going backwards through the day’s events, I think that we recollect what was felt and experience a more conscious awareness through adding more thought and allowing emotion to be understood. Through the cultivation of thought and becoming aware of oneself I think one can gain a better understanding of time and how simple association or repetition can alter and create new time where there was none before.

In 2010 I began painting digitally using a Wacom, a pressure sensitive tablet and stylus input for a computer, and used screen capture, which records every ‘brushstroke’ of what I paint on screen. I would then edit and time lapse the video as well as altering the flow of time. From these videos I could take a painting that took 8 hours to create, condense it to 15 seconds and then reverse the video so that in 30 seconds you could see the process used in creating the image and then watch as the same image devolved and began again. While I was working I suffered a concussion and began imagining an alternate history that developed after I found an old biography of Eisenhower that had an interesting portrait on the back. I would listen to the news on the radio while painting and imagined a world in which a cybernetic artificial intelligence was created that permeated the internet and had a bodily form of an android in the likeness of Eisenhower. The android was created by the military as a computer entity that was much more intelligent that any human mind and was a last resort super weapon. Upon the activation of Cybernetic Android Eisenhower rather than launching bombs it instead used confusion and altered all the languages of the world, including the meaning of words, all communications, removing anger from voices in phone calls and preventing any sort of violence from occurring.

In order to display my digital work I have taken old television sets and modified their hardware to play digital video, as well as painting the exteriors. I have found that part of what I want to do when I make these videos which I call ‘moving paintings’ is to transform televisions into a type of ambient art. I designed my art to transform the place of a television from the centerpiece of a room to a painting hanging on the wall. I feel when our attention is enveloped by an interesting narrative or focused on hand eye coordination it becomes difficult to think our own thoughts or to relate to others in an authentic and meaningful fashion. Not to say film or games are bad when taken in moderation but when taken to extremes I feel they can become a damper on developing authentic relations or understanding oneself and can lead to isolation.

When I first began creating digital time lapsed paintings I was recovering from an accident that put my canvas work on hold until my arm could heal and was given hypnosis treatments as part of my physical therapy. I still experience the pain but to a lesser degree and I used painting with a Wacom as an escape. When I would paint I would forget my pain but I would still think and my perception of time would be different. I hope that others when watching my paintings will get to feel or experience the state in which time is altered but thought still occurs. It is that time, where I think about time or think about thoughts, and I do not feel isolation because I feel understanding and peace.

“neurological tangle” : Kollin Baker

Opening Reception: Saturday, March 17th, 2012, 7-11PM
On view by appointment only through March 24th, 2012

I began this project a couple of years ago, first by visualizing the usage of a common and familiar object. The second part has been the contemplation of the overall layout and design of the parts to create a “whole”.

What congealed the parts into this installation was observing my thoughts and feelings during the process. It occurred to me that visually this reminds me of our neurological pathways. 

It is not that a bunch of twigs arranged around a room is that interesting to you or me, its the concepts and thought/s. I realize that is the very essence of being human and an artist. No other organism can do this, that is what differentiates us. 

Our thoughts and emotions, brief. The need to express, utterly human.

“Low Lives: Occupy!”

Presenting Partner Screening: March, 3rd, 5-9PM CST, 2012

Low Lives launches new program in partnership with Occupy With Art and The Hemispheric Institute of Performance and Politics.

On March 3rd, 2012, Low Lives: Occupy! an international platform designed to enable artists, audiences, and presenters in alliance with the Occupy movement to support the occupation, will transmit live performances, actions, and happenings online as they occur in real time around the world. Participating artists, artist collectives, Occupy groups, and presenters worldwide will expand the reach and visibility of the Occupy protests by broadcasting to an international community and audiences. The Occupy protests, and the myriad of perspectives and experiences related to this unique moment, will be amplified, explored, and experimented with, through Low Lives’ internet-based creative platform. Low Lives: Occupy! recognizes the powerful opportunity that is the presentation of performances from around the world, and invites artists to open eyes and minds by presenting a radical re-imagining of possible ways of existing and relating.

Over the past 4 years Low Lives has developed a platform that invites and enables artists, audiences, and presenting venues to “plug in and participate” from anywhere an internet connection exists. This technological platform brings a history of supporting artists’ full creative freedom to imagine new worlds and is now offered to artists interested to present work in solidarity with #OWS. Online documentation of the live event will allow Low Lives: Occupy! to inspire online audiences far into the future.

About Low Lives
Founded in 2009, Low Lives is an international platform for live performance-based works transmitted via the internet and projected in real time. Low Lives examines works that critically investigate, challenge, and extend the potential of performance practice presented live through online broadcasting networks. These networks provide a new alternative and efficient medium for presenting, viewing, and archiving performances. Low Lives offers local and global audiences a contextual frame from which to consider live performance in both the physical and virtual space.

The platform celebrates the transmission of ideas beyond geographical and cultural borders, and opens multicultural and intergenerational dialogue through visual language, new technologies, and contemporary expressions. Low Lives is about both the presentation and transmission of performative gestures from a particular place and time. Low Lives produces an annual Networked Performance Festival. www.lowlives.net

About Occupy With Art
Occupy With Art (Formerly Occupennial) is an affinity group of the Arts & Culture working group. We are artists, writers, curators, and art professionals lending our skills to produce art, cultural events and projects, with a particular focus on OWS itself as a social art process. We work with organizations and artists that require a focused team to facilitate their projects. We produce art projects, large-scale events, and exhibitions. Our website, www.occupywithart.com, serves as an information hub for current and past art-related activities in the OWS movement. We are committed to building relationships within OWS and with outside arts organizations.

About Hemispheric Institute of Performance and Politics
The Hemispheric Institute of Performance and Politics is a collaborative, multilingual and interdisciplinary network of institutions, artists, scholars, and activists throughout the Americas. Working at the intersection of scholarship, artistic expression and politics, the organization explores embodied practice—performance—as a vehicle for the creation of new meaning and the transmission of cultural values, memory and identity. Anchored in its geographical focus on the Americas (thus “hemispheric”) and in three working languages (English, Spanish and Portuguese), the Institute’s goal is to promote vibrant interactions and collaborations at the level of scholarship, art practice and pedagogy among practitioners interested in the relationship between performance and politics in the hemisphere. www.hemisphericinstitute.org/hemi/

“Above Every Plane and Around Every Circle” : Shawn Camp

Opening Reception: Saturday, March 3rd, 2012, 7-11PM
On view by appointment only through March 10th, 2012

Above Every Plane and Around Every Circle uses light, sound, and paint as a meditation on transmutation and recurrence.  The gradually changing environment of the space transforms painted surfaces in the work from opaque to transparent. Each cycle of light to dark is meant to further singularize the dichotomy of the two extremes, of the earth to the heavens, of day into night.

The imagery is taken from topographic maps of the Alberta prairie near where my mother was raised.  The elegance of its wintery plains, lakes, and rivers belies a true severity - the vast isolation inherent to the place and denudation from the visual blast of sunlight on snow.

Some of my earliest memories are from here: mental images of stinging, watery eyes in bright morning sun.  In those winters the darkness at night blew, biting, past tiny specs of light, like millions of needles had punched through the firmament, leaving miniature keyholes to let slip the snow-blind glare of the heavens above.  The paradox of an infinity, just beyond real comprehension but always insistent, is water beneath ice-covered rivers, flowing inconspicuously toward the lower latitudes. 

“Waves of Joy – Heat Distortion – The Vague Obelisk” : Eric Timothy Carlson

Reception: Saturday, February 25th, 2012, 7-11PM

The mural being produced for Co Lab Space, the second iteration of the loosely titled series “Waves of Joy – Heat Distortion – The Vague Obelisk”, is to be an immersing field set to induce a physical and emotional experience through the use of line space and color. 

Eric Timothy Carlson is and artist from Brooklyn, New York by way of Minneapolis, Minnesota, using visual physics and a vast lexicon of personal & contemporary symbolism to produce works ranging from expansive series of drawings and artist books to immersive collaborative production and installations.

“Bullshit Detector” : Jamie Panzer

Opening Reception: Saturday, February 18th, 2012, 7-11PM
On view by appointment only through February 25th

The schematic for this ancient apparatus was unearthed one day when I was digging for loose coins in the dirt. I’ve reconstructed a prototype using modern materials as best I could.

That such a device existed so long ago, and is only now available to us for use, is a testament to the fact that we have always been surrounded by bullshit. I might add that it arrives in no short order.

It’s monolithic pylons serve as support for the mechanism, forming a tetrahedron, which defines the purest geometric shape in the known universe. Through restistance and impedance, bullshit is attracted, absorbed and disintagrated. Exactly how remains a mystery. Consider it to function in a way that detects bullshit of all manner, including swindles, hog wash, lies, hokum, balderdash, baloney, bilge, flap trap, hooey, poppycock, rubbish, twaddle, chicanery, fraud, malarky, crock, ruse, sham, hucksterism, snake oil, deceit, cons, distortions, dupery, mendacity, prevarication, bunk, hypocrisy, and bluster, et al.

“A Shifting Thought, A Shifting Sea” : Loring Baker

Opening Reception: Saturday, February 4th, 7-11PM
On view by appointment only through February 11th

This body of work is an investigation into my mind as a single mother. I use drawing as my main mode of exploration throughout all the facets of the work. The honest, crunchy, tactility of pencil on paper is something that speaks very clearly to me. I began this work with the idea that I should be able to examine this relationship with my son and explore its interest and beauty from endless different angles. This personal exploration of our relationship can be seen as a metaphor of the larger idea of cognitive flexibility, or our ability as humans to switch our perspective, therefore completely changing the way in which we see something. This body of work ultimately speaks of the existence of innumerable branches of possibility within each initial starting point, and our ability to see these possibilities, if we only take the time to look.

Each drawing is made from one photographic portrait that I took of my son. Seeing this as a way to examine this particular relationship from many different angles, I made drawings from pieces of the photo to create new compositions of his facial features. While drawing I recorded the actual sound of making the drawing, all the scratching, tapping, erasing, etc that my tools made, seeing these sounds as metaphors of creation, destruction, frustration, joy, hard work, while also speaking very literally of drawing. I then edited these sounds by adding small guitar or voice parts, atmospheric sounds I recorded around town, using loops, or by leaving them as is. I then arranged them into soundscapes. Each soundscape has a specific drawing that it is part of, as it is made from the particular sounds of that particular drawing.  From here, the animations further explore my interest in relationships, the act of drawing, and transformation.

“the Development of Actuality” : Robert Jackson Harrington

Opening Reception: Saturday, January 21st, 7-11PM
On view by appointment only through January 28

My work centers on the concept of potential. The possibility of what could be as opposed to what is. This concept works as an exercise of the mind. Our thoughts take given information and imagine or project a new state of being for that information. When we consider something’s potential, usually we visualize a greater and idealized outcome. My work resides in these moments of conceptualization.

I create false narratives that attempt to exploit the idea of potential. I aim to lead the viewer to believe that my sculptures somehow “work” or perform some kinetic function or illustrate a scheme of some unknown contraption. However, the arrangements do nothing, they merely act as a stimulus or catalyst. They suggest a situation, or an action that compels the viewer to respond. I feel that the viewers projected ideas of what my work “can be”, or what it “does” is far more interesting than the actual objects themselves.

robertjacksonharrington.com

“I Put You On A Pedestal” : Michael Abelman

Opening Reception: Saturday, December 3rd, 7-11PM
On view by appointment only through December 9th
Closing Reception: Saturday, December 10th, 7-11PM

An intimate installation in which the viewer both strolls by and floats over a gathering of ancient and contemporary art forms. Abelman’s pieces are both astral roadmaps and geomantic altars that dig into our collective intuitions that lie buried under the modern psyche.

In this show Abelman takes his popular map paintings and turns them on their side, puts them on a pedestal and invites us into the narrative and formal processes of his two and a half dimensional work presented in a format that is both atelier and oracle site.

“Reality Is Only A Rorschach Ink-Blot, You Know” : Lisa Choinacky

Opening Reception: Saturday, November 19th, 7-11PM
On view during the EAST Austin Studio Tour Saturday and Sunday, November 19th + 20th, 11AM-6PM and by appointment only through November 26th

All of existence can be understood as a relationship. Alan Watts posited that our physical world is a system of inseparable things where everything exists with everything else. In this system of metasystems, each relationship aggregates with many, giving form to the universe. And within this pattern, even the most seemingly disparate of elements ultimately reveal themselves to be conjoined and interwoven. Is it coincidence that the world is made up of undividable opposites? I seek to examine how this relates to that.

In a life-sized Rorschach-esque diorama. I’ve collaged together mirror images of basketball players in motion, illustrating that when we accept that the universe runs off a blind energy, this can cause a very insular worldview. We form teams and then we form opponents. The opponents occasionally rise to meet each other in pursuit of the same goal, bifurcating and mirroring one another, each existing because of and for the other.

In layering these images/pieces in a space, I aim to work towards total awareness of connectedness and order, while demystifying the idea of the cosmic fluke. I have chosen to identify and explore sites of mirroring and convergence to highlight the relationship points that bind us, and the universe, together.

“Future: Diorama!” : Ink Tank

Opening Reception: Saturday, November 5th, 7-11PM
On view by appointment only through November 11th
Also on view during the EAST Austin Studio Tour Saturday and Sunday, November 12th + 13th, 11AM-6PM
EAST Reception: Saturday, November 12th, 7-11PM

Can you occupy two scales at once?

Scale acts as a mediator to the viewer, controlling the point of view as well as the personal relationship of the viewer to his or her surroundings. However, perceptions and perspectives constantly shift. Therefore, changing your perspective interrupts yet compliments the world in which you exist, and this adjustment allows for both inward and outward reflection. Future: Diorama! is an opportunity to explore the struggle of myriad possibilities, scenarios and outcomes that intrude on one another’s space, vying for attention. It will be difficult for these realities to coexist.

Ink Tank is an evolving artist collective with the expressed purpose of executing creative ideas in all media. Through collaboration and experimentation, the flux of members in the collective creates a space for projects that compliment each other’s abilities and motivations. The individual parts discover a whole within the unity of sharing ideas and offering support.

“MARFITA”

LARGE SCALE INSTALLATION RE-MAPS MARFA, TX FOCUSING ON APPARITION OF MARY

Opening + Performance: Saturday, October 15, 7-11PM
On view by appointment only October 15 – October 28, 2011
Closing Reception: Saturday, October 29, 7-11PM 

MARFITA is the Spanish diminution of the name of Marfa, a town in far west TX, population aprox. 2,200. Founded in the late 1800’s, the town has served as a social center for the many ranches in the area, as home base for generations of migrant farmworkers moving seasonally between Texas and California, as the site of the US Army’s Fort D.A. Russell, and most popularly today as home to canonical American artist Donald Judd’s permanent installation of his works and select others, under the dual guardianship of the Chinati Foundation and the Judd Foundation. The Chinati alone draws over 10,000 visitors a year to what has become a pilgrimage site of sorts for Minimalist, post-modern, and contemporary art lovers from around the globe. Marfa has yet one more attraction however, a pilgrimage site proper, in all the religious and sacred implications that come with the use of the term ‘pilgrimage.’

In 1994, the Virgin Mary appeared to Hector Sanchez, in the backyard of the last residential home one passes before entering the long driveway up to the Chinati’s main office. Less than half a mile from Judd’s famous cement blocks, Sanchez erected an altar to honor the apparition. Complete with hand painted statue of the Virgin overlooking a shallow cement grotto, and housed within an upturned bathtub, this installation is positioned so that Chinati is always in her sights, were she to ever look up from her worshipful gesture. She too draws pilgrims, and these are accounted for in the log kept by Ester Sanchez, the late Hector’s wife. These two groups are largely unknown to one another, though their itinerant paths surely cross frequently at the auspicious, gravelly roundabout that leads one to one or the other.

The installation MARFITA seeks to trouble this relationship, to draw it out and question the dynamics that are shaping perceptions of the town. The four artists involved each have coordinated a main component of the project, interweaving their respective practices into an open conversation to which they will invite the community to join. Alison Kuo will present video made from footage shot during a group “double pilgrimage” to Marfa, motivated by an active interest in both the altar and the artworks by Judd and his associates. In the sequences, the art pilgrims encounter inspirational architectural elements in the West Texas landscape and respond to them with acts of playfulness. They move things, touch objects: sometimes invoking the spirit of Richard Serra’s 1968 filmwork “Hand Catching Lead,” while alternately piecing together their own rasquache altar pieces. Josh T Franco has crafted miniature (approx. 1:12 scale) reproductions of the artillery sheds of Fort D.A. Russell renovated by Judd’s own hand and direction. These will be laid out on the outdoor grounds of Co-Lab according to their siting in Marfa. They will contain miniatures of the 100 untitled works in milled aluminum. Also included will be miniature versions of the iconic cement block groupings arranged by Judd on Chinati’s grounds. The interior of Co-Lab will be transformed by Joshua Saunders into a loose reproduction of the interior of the Sanchez home where altar builder Hector Sanchez lived prior to his untimely death a month after the altar’s completion. Some film and original collaborative works by the artists will be incorporated as well as Saunders’ “live looped” reenactment of Hector’s walk from inside to backyard, beer in hand, on that auspicious night.

Composed of a renovated arbor, film, and found objects, an 8-10 foot enlarged dreproduction of Sanchez’s altar will be situated behind the Co-Lab building beneath a tree, as it is arranged in Marfa. During the first night of its installation at Co-Lab, Natalie Goodnow will lead an interactive procession through the East Austin neighborhood where the space exists, culminating in a ceremonial, participatory prayer at the altar itself.


Artist Bios

Alison Kuo is an installation artist living in Brooklyn, New York. Her current projects include a culture blog called Accidental Chinese Hipsters and a sometimes gallery show space in her apartment, dubbed the Darling House. In March of 2010 she had her first solo show, Nesting, at SOFA gallery in Austin, TX, and later that year she made an installation and collaborative video featured in the group show Dadarrhea at OHWOW in Miami. Dadarrhea made its second stop at Canada Gallery in New York in 2011. Links: www.kuospace.com, www.flickr.com/kuoskies.

Josh T Franco is a PhD student and Clifford D. Clark Fellow in the Art History department at Binghamton University in Binghamton, New York. His writing on MARFITA and the “Toltec methodology” behind it will be published in Spring 2012 as part of an anthology edited by members of the Society for the Study of Gloria Anzaldua. His past performance/fotoescultura work has been shown at the Esperanza Peace & Justice Center in San Antonio, TX and images published last year in the collection, El Mundo Zurdo. His dissertation’s aim is the “decoloniality of vision”. He has contributed to La Voz de Esperanza, The Thing Itself, zingmagazine, and is currently writing the preface for an upcoming book of poetry by Paul DeJong (of the Books). He is also co-editor of 7STOPS, an online monthly magazine.

Joshua Saunders currently lives in Austin and attends the University of Texas where he is completing his BFA. He keeps a studio at Monofonus, but continues to hoard, tinker, cut and paste in his home as well. One finds him on any given day with Exact-o knife in hand, bent over a way professional magnifying device. Saunders has exhibited solo shows at BiRDHOUSE, Big Medium, Domy, Co-Lab, and elsewhere in Austin. His work was shown in alongside Fahama Pecou and Stephen Lapthisophon at Conduit Gallery in Dallas earlier this year.

Natalie Goodnow is a teatrista, teaching artist, and cultural activist from Austin, Texas. She is an Artistic Associate of Theatre Action Project and a member of The Austin Project as well as a recipient of the 2011 Jane Chambers Playwriting Contest, a national competition. Goodnow writes, performs, and directs; she’s been practicing some combination of those forms for seventeen years, and started teaching about and through them 8 years ago. Her favorite thing to do is create original works for the stage, as a solo performer and in collaboration with other performers and playwrights, both youth and adults. Goodnow explores the relationships between people and places, in terms of relationships to community, to the Earth, and to our own bodies. She’s got a crush on performance art. Links: www.nataliegoodnow.com, makinggoodnow.blogspot.com.

Project Links

Visit Co-Lab’s website.
Keep up with the show: Follow our tumblr, and Like us on facebook.
Read a conversation about Marfa in 7STOPS between Joshua and Alison, introduced by Josh.

Chicken Bones Zupp and Vincent Martinez present
“Bacon Wrapped Urban Folk Suppositories”

Art BBQ: Saturday, October 8th, 5-9PM

Disgusting, articulate, thick, juicy, fall off the bone fun. Functional food sculpture by the master of Folk George Zupp, lascivious loitering by the master of ceremonies Vincent (Emcee Eats) Martinez, collaborative paintings by both. Donations accepted to simultaneously get your snack and your art on.

“Chronotope” : Jennifer Caine

Opening Reception: Saturday, October 1, 7-11PM
On view by appointment only through October 8th

Chronotope is a literary term used to describe the link between time and space in language. In my cut-paper installation by the same name, I explore the interconnection between time and space in memory. Chronotope looks to my own memory – to some of the most poignant moments in my past, to memories that reside at a preverbal level, retrieved only as fleeting glimpses. Without verbal recall, corroboration by others, or a place in the linear narrative of my life, these memories appear unpredictably in my consciousness. Powerful yet elusive, they seem to fuse past and present, time and space.

To organize marks and construct space in the hanging paper sheets of Chronotope, I turn to these memories. I seek to evoke the emotion and psychological state associated with them and the lucid yet dreamlike awareness that marked the moments in which they were born. Through the progression, repetition, and layering of passages of cut marks, I create spaces that appear to crystallize on the verge of dissolving, suggesting the persistent yet slippery quality of memory.

Jennifer Caine received a BA cum laude in Studio Art and Mathematics from Dartmouth College in 2000 and an MFA in Painting from Boston University in 2005. Her work includes paintings, prints, drawings, and artist books and has been exhibited nationally and internationally. Recent solo exhibitions were held at Soprafina Gallery, Boston, MA, The Strauss Gallery, Dartmouth College, Hanover, NH, and Guerilla Arts, Dallas, TX. Other recent exhibition venues include the National Academy Museum, New York, NY; The Painting Center, New York, NY; The Hunstville Museum of Art, Huntsville, AL; 808 Gallery, Boston University, Boston, MA; FPAC Gallery, Boston, MA; Ice Cube Gallery, Denver, CO; Jewett Gallery, Wellesley College, Wellesley, MA; The Carillon Gallery, Tarrant County College, Fort Worth, TX; and ArtSpace, Maynard, MA.

Caine is the recipient of many awards, including the Constantin Alajalov Award at Boston University, the 2008 Dartmouth Alumni Lecture Award, and the Helen Figge Moss Memorial Award. She has been selected for inclusion in the forthcoming book, 100 Boston Painters published by Schiffer Publishing. Caine currently teaches at Dartmouth College where she is the Area Head of P