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Faculty and staff service milestones in August

By in Art World News

Faculty and staff service milestones in August

Congratulations to University faculty and staff who achieved significant service milestones in August.

August

Daniel Noneaker, College of Engineering, Computing and Applied Sciences, 30 years

James Gaubert, The Wilbur O. and Ann Powers College of Business, 30 years

Richard Tyrrell, CBSHS, 30 years

Amanda Hays, Student Affairs, 30 years

Anthony Savereno, CAFLS, 20 years

John Abercrombie, College of Science, 20 years

Ashley Fisk, College of Arts and Humanities, 20 years

Kendra Johnson, College of Arts and Humanities, 20 years

Kenneth Moore III, College of Arts and Humanities, 20 years

Charles Starkey,  College of Arts and Humanities, 20 years

Denise Anderson, CBSHS, 20 years

Sarah Griffin, CBSHS, 20 years

Goutam Koley, CECAS, 20 years

Lisa McElveen, CECAS, 20 years

Abdul Khan, CECAS, 20 years

Julia Brumaghim, College of Science, 20 years

Chad Sosolik, College of Science, 20 years

Michal Jerzmanowski, Wilbur O. and Ann Powers College of Business, 20 years

Meredith Futral, Libraries, 20 years

Gregory Weitz, University Facilities, 20 years

Jennifer, Hooper, CAFLS, 10 years

Michael Vassalos, CAFLS, 10 years

Juan Migueles, College of Science, 10 years

David Feliciano, College of Science, 10 years

Carol Hegler, CAFLS, 10 years

EJ Rhodehamel, CAFLS, 10 years

Michael Kleiss, College of Architecture, Art and Construction, 10 years

Joseph Burgett, College of Architecture, Art and Construction, 10 years

Sarah Edison, College of Arts and Humanities, 10 years

Gabriela Stoicea, College of Arts and Humanities, 10 years

Kenneth Widgren, College of Arts and Humanities, 10 years

Faiza Jamil, College of Education, 10 years

Meihua Qian, College of Education, 10 years

Corrine Sackett, College of Education, 10 years

Phillip Wilder, College of Education, 10 years

 Susan Anne Cridland-Hughes, College of Education, 10 years

Jacquelynn Malloy, College of Education, 10 years

Herbert Chancellor, CBSHS, 10 years

Lauren Duffy, CBSHS, 10 years

Gwynn Powell, CBSHS, 10 years

Lindsey Garrard, CBSHS, 10 years

Williams Martin III, CECAS, 10 years

Ann Catherine Foley, CECAS, 10 years

Tong Ye, CECAS, 10 years

Hai Xiao, CECAS, 10 years

Amin Khademi, CECAS, 10 years

Hong Choi, CECAS, 10 years

Rodrigo Martinez-Duarte, CECAS, 10 years

Phanindra Tallapragada, CECAS, 10 years

Qiushi Chen, CECAS, 10 years

Christophe Darnault, CECAS, 10 years

Ashok Mishra, CECAS, 10 years

Luis Jacobsohn, CECAS, 10 years

Tania Houjeiry, College of Science, 10 years

Derek Brown, College of Science, 10 years

Meredith Burr, College of Science, 10 years

Timo Heister, College of Science, 10 years

Pooja Puneet, College of Science, 10 years

Endre Takacs, College of Science, 10 years

Matthew Klein, Wilbur O. and Ann Powers College of Business, 10 years

Georgie Lockhart, The Wilbur O. and Ann Powers College of Business, 10 years

Anastasia Fitzwater, Wilbur O. and Ann Powers College of Business, 10 years

Charles Weiss, Wilbur O. and Ann Powers College of Business, 10 years

Katherin Curtis, CBSHS, 10 years

Jennifer Grandits, CBSHS, 10 years

Michael Belanger, CCIT, 10 years

Gary Wiser Jr, Student Affairs, 10 years

Jarvis Pitts, Finance & Operations, 10 years

Brooke Lankford, Student Affairs, 10 years

Amy Josey, General Counsel, 10 years

Kendra Stewart-Tillman, Inclusion & Equity   10 years

Ashley Love, Finance & Operations, 10 years

Joseph Galbraith, Marketing & Communications, 10 years

Leslie Winkler, Marketing & Communications, 10 years

Anna-Marie Chancellor, Academic Affairs     10 years

Ashley Reynolds, University Facilities, 10 years

Marvin Gibson, Athletics, 10 years

Take 5: Minimalist Phone, Modern Playground, Delft Blue Tunnel + More

By in Design

Take 5: Minimalist Phone, Modern Playground, Delft Blue Tunnel + More

As part of the Nickerson Gardens public housing complex, the renovated 17,656-square-foot Nickerson Gardens Playground is bringing a much-needed space for kids to have fun in the Watts neighborhood of Los Angeles. The playground was designed by architecture and design firm NBBJ and its experience design studio ESI Design offering pro bono design services and direction. To make the project happen, Los Angeles native and Red Hot Chili Peppers’ bassist Flea stepped in as the main benefactor behind the project. Flea leant his vision, helped with fundraising, and was actively involved with soliciting donations to fund the project. The design not only looks cool visually, its adding so much to the historically underserved community of Watts.

There’s no doubt that most of us are addicted to our phones. It’s hard to imagine a time when we didn’t have a phone in our hand, pocket, or within about five feet of our person. Sometimes it feels great to always be connected to friends and family, stay on top of work emails, and have access to just about any information we want, all at our fingertips. But then there are times when I just want to shut down and log off. Punkt’s MP02 New Generation minimalist phone has been out for a couple of years but it’s been updated and released in a new Light Grey color. The Swiss, design-led tech company, with Jasper Morrison in art director and designer roles for the brand, has always had my curiosity piqued, especially in these post-Covid times when we’ve all had to re-learn how to connect with people in person again. I’ve known that I always like to have my phone nearby, but I realized during Covid that it was rarely out of my hand, even if I was watching TV or a movie, or talking to another person. The MP02 phone aims to help you break your screen addiction and focus on everything else around you. The dialed-back design looks like a basic calculator from childhood school days, but its small screen only allows you to make/receive calls, text messages, and see the time. That means no more endless hours of scrolling TikTok, Instagram, X or whatever social media you prefer, no camera, and also no internet searches. While I know it would be extremely difficult, I fantasize about all I could get done if I wasn’t head down staring at my iPhone for so many hours every day.

inside a tunnel clad in bright cobalt blue texture relief tiles

Photo: Riccardo De Vecchi

closeup angled view of cobalt blue 3d-printed ceramic tiles

Photo: Riccardo De Vecchi

In the historic Dutch city of Delft, Studio RAP outfitted a tunnel with 3D-printed clay tiles that make me want to take a closer look and touch. The project is the studio’s nod to the decorative qualities of the iconic Delft Blue porcelain that’s been around since 1653, which most people know as the popular white dinnerware and objects with hand-painted, deep blue patterns. Studio Rapt created approximately 3,000 unique tiles through 3D clay printing, computational design, and artisanal glazing. The multi-step glazing process of various hues of blue resulted in the rich bold color seen outfitting the tunnel. It’s so visually stunning and I imagine it’s become a popular backdrop for many local’s Instagram photos. For a closer look, check out there video of the project here.

down view looking at top of desk with cork tray holding office accessories

I strive really hard to find a place for everything otherwise it just ends up as clutter. To be honest, I’m not always good at it because I have too much stuff, but I’m always trying to be better. For example, if my desk is in chaos, it distracts me from fully concentrating on work and that just can’t happen. I’ve always loved the Grovemade brand and recently spotted these Desk Trays. I really appreciate how minimal yet functional they are, allowing you a few spaces to hold a little bit of everything you need at arm’s reach. The inside is made from solid cork that’s machined to create the spaces to hold your gear, while the outside tray is made from 5054 aluminum for a sleek look. It comes in three sizes and in a light natural cork or dark that is dyed with Sumi ink.

angled view of model making kit of assembled modern house

My love of LEGO and all things puzzles is pretty well known around here, so when Stix + Brix landed in my email, I had to do a deep dive. The Florida-based brand, founded by husband-and-wife professional architects, creates architectural model kits for kids and teens (and probably adults like me). Each kit comes with everything you need, including pre-cut interlocking wood, acrylic, assorted paints, brushes, other decorative bits, and step-by-step illustrated instructions. Currently they have eight models, including two new summer beach houses, as well as the Eco-House (above) and a cool A-frame cabin.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

It’s a Snail World After All: Tiny Molluscs Slide Around Town in Nostalgic Miniature Sets

By in Art World News

It’s a Snail World After All: Tiny Molluscs Slide Around Town in Nostalgic Miniature Sets

All images © Aleia Murawski and Sam Copeland, shared with permission

The minuscule worlds designed by Sam Copeland and Aleia Murawski (previously) are just like ours—only a little bit slimier. Creating small, nostalgic dioramas for the past few years, the pair has a robust collection of sets fit for their tiny snail pals. The mollusks are caught slithering up to a video rental spot to browse horror films like The Snexorcist and Shellraiser, taking a snooze at their office job, and giving themselves a pep talk in the pink-tiled bathroom of a dive bar. Puns and adorable miniature renditions of common objects like a bulky desktop computer and bottles of nail polish fill the scenes, which feel like they’re plucked straight from the 90s.

Copeland and Murawski will have work in a group exhibition opening September 30 at Bedford Gallery in Walnut Creek, California, and have a follow-up to their book, Snail World: Life in the Slimelight, slated for publishing in 2024 by Broccoli. They’re currently in progress on a few video projects, which you can find on Instagram.

 

A snail browses tiny movies

Four images, from top left, three snails are contestants on the dating game, a snail rides a train, a snail sits at its desk at an office, and two snails enter a photo booth

Two snails sit on pink chairs in a nail salon

Two images, from left, a snail slides up to a bar called the meltdown, a snail peers in the mirror o fa bathroom

A snail sits on a barstool with a pool table in the foreground

Two images, from left, a snail peers in the mirror over a pink vanity, and a snail sits on a chair in a dentist's office

Two snails sit at a nail salon table

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article It’s a Snail World After All: Tiny Molluscs Slide Around Town in Nostalgic Miniature Sets appeared first on Colossal.

Indians 101: Some later works by Yankton Sioux artist Oscar Howe (museum exhibition)

By in Native

Indians 101: Some later works by Yankton Sioux artist Oscar Howe (museum exhibition)

The concept of a discrete category called American Indian Art is a western concept which was refined during the twentieth century. Traditionally American Indians had improved the aesthetics of the things they made, but they did not conceptualize art as something separate from function. During the twentieth century, art museum curators, art historians, art critics, and others began to recognize American Indian Art as a distinctive art form and established the criteria for it. These people were, however, non-Indians with little first-hand experience with Native cultures. American Indian Art was, therefore, defined by European art standards and stereotypes of Indian culture.

In an article in American Indian Art, Jo Ortel writes:

“What constitutes authentic Indian experiences in the mid-twentieth, or indeed, in any century? By what criteria do we judge Indianness or non-Indianness? The binary construction of race and ethnicity is inadequate to contain the complexity of lived experience.”

Among the American Indian artists who challenged this foreign framework for defining American Indian Art was Yankton Sioux artist Oscar Howe (1915-1983).

Like many American Indian men, Oscar Howe (1915-1983) was drafted into the U.S. Army in 1942. Following his World War II service in Europe, Howe returned to art and his painting Dakota Duck Hunt won the Grand Prize in the 1947 Indian Art Annual sponsored by the Philbrook Art Center in Tulsa, Oklahoma. Having earned a B.A. and M.F.A., he became an assistant professor of art at the University of South Dakota in 1957/

In his biographical sketch of Oscar Howe in Notable Native Americans, Christopher Tower writes:

“One of the most influential Native American artists of the twentieth century, Oscar Howe was among the first Indian artists to combine traditional and modern forms in paintings, and is therefore credited with pioneering a new phase of artistic expression in American Indian art.”

P1340391
Shown above is Umine Wacipi. Casein on paper. This is a graphic reproduction as the original has been lost.

In 1958, Oscar Howe submitted a painting entitled Umine Wacipi — War and Peace Dance to the Philbrook Art Center’s Indian Art Annual. The painting, done in an abstract style, was rejected for award consideration because the jury found the work “not Indian.” Howe wrote to the curator:

“Who ever said that my paintings are not in the traditional Indian style has poor knowledge of Indian Art indeed. There is much more to Indian Art than pretty, stylized paintings.”

He went on to ask:

“Are we to be held back forever with one phase of Indian painting, with no right to individualism, dictated to as the Indian always has been, put on reservations and treated like a child, and on the White Man knows what is best for him.”

P1340392
Shown above is the letter.

According to an exhibit in the Portland Art Museum:

“His protest put into words the concerns brewing in the Native artist community and served as a catalyst for institutional change; for decades to come, Howe’s letter was used by Native artists as a battle cry for the rights to freely express themselves.”

Christopher Tower writes:

“Like many other Native American artists of the time, he was frustrated by critics, curators, and art dealers who were only willing to accept Native work that ‘looked’ Indian, meaning that it contained recognizable Native subjects and avoided the use of shading, foreground and background, and proper perspective.”

In his biography of Oscar Howe in the Encyclopedia of North American Indians, David Miller (writes:

“Howe demythologized a romantic aboriginal past and created artwork with a continuity and connection from past to present. He wanted his art to be seen and perceived as an informed whole that expressed his aesthetic and reflected his Yanktonai Sioux culture.”

The Smithsonian’s National Museum of the American Indian and the Portland Art Museum (PAM) present a special exhibit, Dakota Modern: The Art of Oscar Howe, highlighting his work. Shown below are some of his later works.

P1340389
Shown above is Umine Dance, 1958. Casein and Gouache on paper.
P1340433
Shown above is Planning Sketch (Wounded Knee Massacre), 1959-1960. Pencil on paper.
P1340434
Shown above is Wounded Knee Massacre, 1960. Casein on paper.
P1340435
Detail from Wounded Knee Massacre
P1340436
Detail from Wounded Knee Massacre
P1340423
Shown above is Origin of the Sioux, 1960. Casein on paper.
P1340461
Shown above is Deer Dance, 1960. Casein on paper.
P1340462
Detail from Deer Dance
P1340463
Detail from Deer Dance
P1340464
Detail from Deer Dance
P1340429
Shown above is Calling on Wakan Tanka, 1962. Casein on paper.
P1340459
Shown above is Horse, 1963. Casein on paper.
P1340456
Shown above is Fighting Bucks, 1967. Casein on paper.
P1340457
Detail from Fighting Bucks
P1340405
Shown above is Skin Painter, 1968. Casein on paper.
P1340438
Shown above is Fleeing a Massacre, 1969. Casein on paper.
P1340427
Shown above is Indian Christ, 1972. Casein on paper.

According to PAM:

“Overt depictions of Christianity were rare in Howe’s work. This painting of the crucifixion, created as a design for the apse of the church he attended in Vermillion, South Dakota, is a remarkable exception. The Christ figure is illustrated at the moment of death and transfiguration, his body losing its earthly connection and floating away from the cross, reminiscent of Howe’s Sun Dance paintings as the dancers enter a state of ecstasy.”  

More American Indian Art

Indians 101: The art of Oscar Howe, 1945-1956 (museum exhibition)

Indians 101: American Indian modern art by Oscar Howe (museum tour)

Indians 101: Some 1930s works by Sioux artist Oscar Howe (museum tour)

Indians 101: Sioux ceremonies by artist Oscar Howe (museum tour)

Indians 101: Sunflower by Walla Walla artist James Lavadour (museum tour)

Indians 101: Caddo artist Raven Halfmoon (museum tour)

Indians 101: Glass art by Marcus Amerman (museum tour)

Indians 101: Exploring Glass Art by Native Artists (Art Diary)

Schweinfurth: Moravia artist reflects on lifetime of photography

By in Photography

Schweinfurth: Moravia artist reflects on lifetime of photography

Maria Welych
Special to The Citizen

AUBURN — Artist Fred Price, of Moravia, has worn many different hats in his 86 years, but photography is a passion that has lasted his lifetime.

“One Christmas, my brother and I got a Kodak darkroom kit,” he said. The family’s coal bin became their darkroom, and thus began his love of imagery.

“I am a picture maker; photography is my medium,” he said. “Almost all of my pictures are rectangles. Filling those rectangles is my art; shapes and textures and contrast are among my tools.”

A selection of Price’s pictures will be on display Sept. 1 through Oct. 15 in a solo exhibit, “Reflections of a Photographer,” at the Schweinfurth Art Center in Auburn. He chose that title because, in looking back at his work, he noticed that most of his pieces involved reflections in glass.

“I am drawn to reflections because of the surprise that is possible,” he said. “It is a purely visual thing. I am drawn to city streets and store windows because of the way things look.”

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Price began his varied occupations soon after his 1955 high school graduation in Youngstown, Ohio, when he joined the U.S. Army. After leaving the Army in 1958, he worked in a Youngstown steel mill before deciding to move to New York City in 1959. He was lured there by the ability to listen to live jazz music.

He lucked into a job with a professional photographer shooting products, starting as a darkroom assistant and gofer. He worked his way up to a staff photographer job, which he discovered he hated.



Fred Price portrait.jpg

Fred Price



Provided


“The job is interesting as long as you barely know what’s going on,” Price said. “But once it is mastered, it’s the same every day.”

Price lived on and off in New York City for nearly 30 years, with time away for a 91-day world tour that included stops in Paris, Copenhagen, Bangkok, Beijing and more. He also spent time in Mexico, California and Vermont during that time, all the while capturing images.

And through the years, he worked a variety of jobs, including moving man, plumber’s helper, carpenter’s helper, laborer, baker, painter, farmer, orchardist, mushroom grower, poultry farmer and — possibly his second favorite job — DJ at a jazz radio station in the Catskills.

In 1988, he and his wife, Faye, moved to the eastern Catskills and they ran a bed and breakfast while Fred ran a gallery. But the devastating 2006 floods sent them packing to the Finger Lakes.

Price’s exhibit comprises his entire art career. His pieces in “Reflections of a Photographer” range from 1970’s “Cubist VW” to 2022’s “Cylinder Speeds.” And most of them include reflections, some on glass surfaces in front of the main subject of the image while others play with light reflected onto the subject.

“My misunderstanding of cubism is what lead me to cubism,” Price said. “I read, as a kid, that the cubists were trying to show more than one aspect of reality at the same time.”

To him, Manhattan storefronts offered the perfect way for him to translate cubism into photography, showing both the image and what was physically behind the camera.

“My reflections offer a view of a reality that speaks to me: odd juxtapositions of images, the reality of the store window display, and the reality of those reflections,” he said. “They combine to show a reality we would not have thought of, and it is always a surprise.”

Faye Price said that the reflection pictures are her husband’s most distinctive work.

“We all take pictures of things or scenes, but (he doesn’t),” she said. “(He approaches) the picture like a painter. People don’t know what they’re looking at.”

Since moving to the Finger Lakes, Price has become a frequent visitor to the Schweinfurth, amusing staff and visitors alike with his jokes. But one thing he doesn’t joke about is his connection to jazz. In fact, he equates his process of image making to playing jazz.

“A jazz musician will take the same tune, play it for maybe 50 years, and still find new and inventive expression in it,” he said. “I feel that the artist with a camera doesn’t have to wait for inspiration. The picture is always there. It’s up to the artist to feel, to get in touch with what’s there and what he can do with it.”

Maria Welych is marketing director for the Schweinfurth Art Center in Auburn, a multi-arts center that opened in 1981 thanks to a bequest from Auburn-born architect Julius Schweinfurth. The center’s programs include more than a dozen exhibitions each year and educational programs for children and adults, which feature local, national and international artists. For more information, call (315) 255-1553 or visit schweinfurthartcenter.org.



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Caraway Unveils New Prep Set + Cutting Boards for Effortless Meal Preparation

By in Design

Caraway Unveils New Prep Set + Cutting Boards for Effortless Meal Preparation

As someone whose small kitchen is packed with too many things yet nothing useful, I’m always checking out practical and aesthetically-pleasing items to acquire in hopes of creating a fully-functioning space where I’d actually like to cook. One day I plan to actually bite the bullet and buy a set of pans (I embarrassingly own only one) and good knives (I have two dull ones), but there are so many to choose from that I just keep putting it off. As a novice cook, it just feels wrong to throw down hundreds of dollars on pots and pans and then more on a couple of knives, but it sure would make prepping meals easier. I keep coming back to Caraway because I love how they look and from everything I’ve heard, they’re a great investment. The internet favorite cookware brand continues to expand its line – this time with the Prep Set and Cutting Board Set.

The slim, space-saving Prep Set is ideal as it doesn’t have a large footprint and it comes with everything one might need to fix a meal. It can easily find a home in your kitchen, whether you rest it along the backsplash out of the way, or line it up beside the stove. The narrow, elongated design holds 10 kitchen essentials, including four knives (Paring Knife, Bread Knife, Prep Knife, and Chef’s Knife), pair of kitchen shears, and five utensils (Wooden Tongs, Wooden Server, Wooden Spoon, Wooden Scraper, and Wooden Spatula), each with their own storage spot in the organization unit.

angled shot of kitchen counter holding multiple sets of knife and kitchen utensil sets

The curated set, made from Eastern European FSC-certified birch wood and non-toxic materials, comes in six colors – Charcoal, Cream, Navy, Gray, Mist, and Perracotta – that match their cookware line.

style shot of wood knife block and multiple cutting boards

styled shot of suspended kitchen utensils and knives

styled shot of wooden utensils and knives standing up

styled shot of blue handled knives standing up

styled shot of wooden utensils standing up

styled shot of set of wooden cutting boards and various utensils

The four-piece, non-toxic Cutting Board Set, made of Eastern European FSC-certified birch, includes three boards (10.5×7″ Small Board, 14×10.5″ Medium Board, and 17×12″ Large Board) and a storage organizer that holds the boards vertically to save space.

styled shot of dining table with hand extended holding wooden tongs placing greens on plate

image

The sets can be purchased separately with the Prep Set going for $395 and the Cutting Board Set priced at $185, or bundled as the Prep & Boards Set for $580 via carawayhome.com.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

Arts & entertainment quick picks for the week of Aug. 30

By in Native

Arts & entertainment quick picks for the week of Aug. 30
image

Published: 8/29/2023 2:54:12 PM

Modified: 8/29/2023 2:53:34 PM

Songwriter Round-Up

What: The partnership between Katie Dobbins Music and Hermit Woods Winery & Eatery, which has brought a new monthly music series titled Songwriter Round-Up to the Lakes Region, is set to present its seventh show. The next Songwriter Round-Up features Katie Dobbins, the duo Red Daisy Revival with New Hampshire native Morgan Clark alongside Nashville native Daniel Kassel, and the Nashville-based duo Paramount Junction comprised of New England natives Rory Scott and Alyson Tracy. This show will bring a country flair to the stage for an entertaining evening of great music.

When: Wednesday, Aug. 30, with complimentary wine tasting beginning at 5:30 p.m., and Loft seating opens at 6 p.m., and music running from 7 to 8:30 p.m.

Where: Hermit Woods Winery & Eatery, 72 Main St, in Meredith

Info: Tickets are $10 to $15 and can be purchased in advance at hermitwoodswinery.com/the-loft or in-person at the Winery.

Two solo shows

What: ‘The Joy of Still Life’ and ‘Trees, A Sense of Wonder’ is a two-show exhibit featuring still life oil paintings from Marlene Zychowski of Barrington, and fabric artist Carol Powley displays machine drawing with silk thread on painted cotton fabric.

When: Aug.30 through Oct. 1, Wednesday through Saturday, 10 a.m. to 5 p.m. and Sunday, 1 to 4 p.m.

Where: Seacoast Artists Association, 130 Water Street in Exeter

Info: Learn more at seacoastartist.org.

“Dreamers”

What: “Dreamers” is special pop-up exhibition featuring a collection of works by seven artists from New Hampshire, Maine, and Massachusetts. The majority of these artists have graduated with a Bachelor of Fine Arts or art focused degree, and the goal of the exhibit is to uplift undiscovered young artists and relish in the romanticization of their twenties. From landscapes and architecture to visual representations of time and wonder, these emerging artists from the Northeast share their unique works.

When: Sept. 2, from 5 to 7 p.m.

Where: Patricia Ladd Carega Gallery at 69 Maple St. in Center Sandwich

Info: Patricia Ladd Carega Gallery, patricialaddcaregagallery.com/dreamers, or Ali Alberta, albertaalison.wixsite.com/mysite

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