Monday, February 25, 2008

Interventions and Objects: New Work by Bebe Beard and Liz Nofziger

The New England School of Art & Design at Suffolk University
75 Arlington Street, Boston, MA 02116
Gallery Phone (617) 573-8785
Gallery Website

Exhibit runs February 14th to March 15th, 2008
Reception with the artists: Thursday February 14th 6-8pm
Gallery talk: Tuesday February 26th at 1pm
Gallery hours: Monday-Friday 9am- 10pmSaturday 9am- 6pm, Sunday 12- 5pm
Enter from 10 Saint James Street after 7pm and on weekends
This exhibit and all events are free and open to the public.T
he NESADSU Gallery is accessible by the MBTA, Arlington St. Green Line stop.

Interventions and Objects: New Work by Bebe Beard and Liz Nofziger. This site specific exhibition of multimedia and video work will run from February 14th to March 15th at the NESADSU gallery at 75 Arlington Street, Boston, MA. A public reception with the artists will be held on Thursday, February 14th from 6-8pm. A gallery talk will be held on Tuesday, February 26th at 1pm. There will be an illustrated catalogue featuring essays by James Manning, Interim Gallery Director NESADSU, Phaedra Shanbaum, co-director of Axiom Gallery in Jamaica Plain and Rebecca Gordon, formerly director of Second Gallery in South Boston. Bebe Beard and Liz Nofziger working separately have both created new site-specific multimedia works in the NESADSU gallery space. Using video, sound and sculpture both artists have transformed the gallery space in to a new experience. Beard’s installation titled Con-flict includes wall sized projections of wire animated by magnetic fields. The video projections are further enhanced by wire assemblages hanging through the gallery space which cast shadows over the projected images, adding a physicality to the flat space of the videos. Bebe also worked with her long time collaborator Lou Cohen to produce a sound component that adds many layers and depth to truly activate the viewer’s senses as they experience the work. Liz Nofziger has worked with the architecture of the gallery focusing on the corridor between the walls and the oversized structural column in the middle of the gallery space. With a simple physical intervention Nofziger disrupts the flow of traffic within the gallery space and creates a new pattern. Close investigation will no doubt reveal even more hidden details.

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