Kara Waxman : Artwork

Murals at the Discovery Museums, Acton, MA

2012-02-28T15:23:00.002-08:00

Below are a series of murals that I am painting for the Discovery Museums in Acton, MA. Higher resolution images are on the way as well as pictures of additional murals.

Back stairwell door:

Rainbow Room:

Second floor stairway (orange reeds painted by prior artist):

2011-11-04T07:14:00.000-07:00

Morning Reading
Mixed media (weaving - plain weave and tapestry, watercolor)
approx. 24 x 20 inches

Detail Images:

Installation:

2011-04-08T10:53:00.000-07:00

Morning Email
Acrylic paint on paper
10 x 8 inches

2011-04-08T10:52:00.000-07:00

After Dinner
Acrylic paint on paper
8 x 9 inches

2011-04-08T10:50:00.000-07:00

Heirloom Gown
Watercolor on paper
6 x 11 inches

"Mirror"
Watercolor on paper
8 x 7 inches

2011-03-09T18:23:00.000-08:00

Birthday
Acrylic paint on panel
20" x 16"

2011-03-09T18:17:00.000-08:00

Morning Reading (Looking North)
Mixed media (needle felting, embroidery on napkin)
9.5" x 9.5"

Sketches -- "Home"
Mixed media (watercolor crayons, acrylic paint, pencil)
Varying sizes -- approx. 4 x 3 inches to 5 x 5 inches

2010-10-28T18:57:00.000-07:00

Piano Lesson (Instruments)
Mixed media (weaving, embroidery)
6" x 8"

Detail:

2010-08-25T18:35:00.000-07:00

Piano Lesson series
Acrylic paint on clayboard panels
5" x 7" each

Piano Lesson I (Two Instruments)

Embroidery floss, yarn (fabric woven by artist)

6.25" x 8.75"

(Composition based on photo taken by Marysia Bazak, used with her permission)

Detail:

2010-05-25T17:17:00.000-07:00

Sunroom
Mixed media (embroidery, watercolor on napkin)
10" x 10"

Hostess
Mixed media (embroidery, watercolor on napkin)
13" x 13"

2010-05-20T16:35:00.000-07:00

Medal for a Military Mother
Brooch frame: brass plate, metal pin on back; Portrait and braiding: embroidery floss, gold fabric
Approx. 2" x 2"

*Collaborative piece with jewelry artist Sharon Lee, who constructed the brooch frame

2010-04-04T06:11:00.000-07:00

Basia and Helenka (Sunflower)

Needle felting on found fabric

approx. 24 x 24 inches

Preparatory sketch -- "Basia and Helenka"

Watercolor on paper

approx. 24 x 24 inches

Advent (Guardians)
Mixed media (embroidery, watercolor on linen)
9.5" x 9.5"

Detail:

Advent

Mixed media (embroidery, watercolor on linen)
7.5" x 7.5"

2010-04-04T06:10:00.000-07:00

Conversation
Acrylic paint on illustration board

30" x 40"

2010-02-23T17:06:00.000-08:00

Thanksgiving II

Graphite on illustration board
32" x 40"

2010-02-23T17:03:00.000-08:00

Thanksgiving I
Graphite on cream paper
approx. 30" x 40"

Detail:

2010-02-23T16:54:00.000-08:00

Mother and Daughter studies
Acrylic paint on paper
approx. 30" x 40" each

2010-02-23T16:52:00.000-08:00

Conversation

Acrylic paint on paper

approx. 30" x 30"

2010-01-26T20:03:00.000-08:00

Aegis
Acrylic paint on circular paper
22" x 22"

Detail:

2010-01-13T07:42:00.000-08:00

Grandmother with Child (Nap Time) series
Pencil on paper
8" x 10" each

2009-11-26T19:53:00.000-08:00

Kitchen

Acrylic paint on paper

approx. 30" x 30"

Below:

Kitchen studies
Acrylic paint on paper
6" x 6"

2009-11-26T19:50:00.000-08:00

Mother with Child
Acrylic paint on paper
approx. 20" x 20"

Detail:

2009-11-15T16:39:00.000-08:00

Easter
Acrylic paint on clayboard panel
8" x 10"

2009-11-01T17:48:00.000-08:00

Tabernacle Series

Acrylic paint on gessoed panel

5" x 5" each

Gallarus Oratory, Dingle Peninsula, Ireland

Left: Marsh Chapel, Boston, MA;

Center: St. Agnes, Cape May Point, NJ;

Right: St. Clement Shrine, Boston, MA

St. Francis Chapel, Boston, MA (study)

2009-11-01T17:45:00.000-08:00

Mother and Daughter (Picnic)

Pencil on paper in gray mat frame

approx. 5" x 5"

Mom with Cole II

Acrylic paint on oval canvas

5" x 7"

2009-11-01T17:44:00.000-08:00

Mom with Cole

Sewing thread, fabric

16" x 20"

2009-11-01T17:42:00.000-08:00

Gifts

Acrylic paint on paper

6" x 7"

2009-11-01T17:41:00.000-08:00

Grandma Nan's Kitchen
Gouache on paper
3" x 5"

2009-11-01T17:40:00.001-08:00

Toppings

Acrylic paint on wood panel

4" x 6"

2009-11-01T17:37:00.000-08:00

A Waxman Family Gathering

Acrylic paint on wood panel

4" x 6"

2009-11-01T17:34:00.000-08:00

Sycamore Circle -- Backyard (Study)

Acrylic paint on masonite panel

8" x 10"

2009-01-27T17:59:00.000-08:00

Home II
Acrylic paint on wood panel
7.75 x 5.75 inches

2008-08-29T14:09:00.000-07:00

Grace
Acrylic paint on wood panel
11 x 11 in.

Detail:

2008-08-27T17:11:00.000-07:00

Studies for Grace

Left: Dad, pen on paper, 5.25 x 6.5 in.

Center: Dinner Table, pen on paper, 4.25 x 5.25 in.

Right: Mom, acrylic on wood panel, 5.75 x 7.75 in.

2008-08-12T08:41:00.000-07:00

Grace II (While Dean is Very Hungry)

Acrylic paint on paper

7 x 7 in.

2008-08-12T08:40:00.000-07:00

Grace

Pen on paper

7.75 x 5.75 in.

*based on photo from book, "America at Home"

2008-08-09T21:40:00.000-07:00

Home I (The Gabriel Tree)

Pen on paper

7.75 x 5.75 in.

2008-07-26T22:40:00.000-07:00

The Steeles' Residence, Cape May, NJ

Pen on paper

7 x 5.75 in.

2008-07-26T22:39:00.000-07:00

The Steeles' Residence, Cape May, NJ
Pen on paper
8.75 x 11 in.

2008-04-24T13:12:00.000-07:00

Wedding at Cana I
Acrylic on circular canvas
12 x 12 inches

This artwork depicts a particular room and its furnishings in Dublin Castle. The Virgin Mary whispers to Christ, who wears a red robe, that the wine has run out. Mary’s opaque white skin and robes are based on descriptions of her Apparition at Knock in Ireland in 1879. One of the ceremony’s servants, a contemporary priest, brings the new, miraculous wine to the praying couple. The miracle at Cana foreshadows of the miracle of the Eucharist, which beautifully intertwines the communion of Marriage and the communion of the Eucharist.

(*special thanks to my friends Pat and Paula Reynolds for modeling for this painting)

Wedding at Cana II

Acrylic on oval canvas

24 x 18 in.

(*please see text accompanying "Wedding at Cana I)

2008-03-13T11:10:00.000-07:00

Unbinding Lazarus III

Acrylic on canvas

7 x 9 in.

2008

These three paintings titled "Unbinding Lazarus" are based on the preceding black and white "Lazarus" series and they portray another allegorical interpretation of the unbinding of Lazarus. Mary and Martha are depicted as two small, elderly nuns praying for their younger brother. Christ watches over the scene, gesturing for silence and peace. A woman, perhaps a personification of healing grace, unbinds Lazarus in a dark pool. This pool is a symbol for the tomb, and is also a reference to the origins of the name Dublin, “Dubh Linn,” or “dark pool.” A large dark lake was once located in this part of Dublin.

(*please see the text accompanying the black and white "Lazarus" paintings in the next posts, for more information on the symbolism and historical information related to these three pieces)

2008-03-13T11:07:00.000-07:00

Unbinding Lazarus II

Acrylic on canvas

7 x 9 in.

2008

(*this piece is part of a series of six works of this subject -- please see other pieces for text regarding the symbolism and historical settings in these works)

2008-03-13T11:01:00.000-07:00

Unbinding Lazarus I

Acrylic on canvas

9 x 7 in.

2008

(*this piece is part of a series of six works of this subject -- please see other pieces for text regarding the symbolism and historical settings in these works)

2007-12-12T12:00:00.001-08:00

Lazarus' Burial

6 x 6 inches

Acrylic on canvas

2007

These six pieces that portray the Raising of Lazarus depict a historical site in Dublin, Ireland, called Dublin Castle. This building and its neighboring gardens are located in downtown Dublin and feature an unusual blend of medieval and modern architecture. In this scene, Mary and Martha bind their brother’s body to prepare it for the tomb, and the monotone, black and white color scheme creates a solemn mood.

(*please see the text accompanying the following "Unbinding Lazarus" series for more information on the symbolism and historical settings of these pieces)

2007-12-12T11:54:00.000-08:00

Waking Lazarus

Acrylic on canvas

7 x 9 inches

2007

This underground setting is based on the medieval foundations of Dublin Castle. Part of the current metal walkway is visible at the top. Lazarus’ wrapped form appears to blend into his surroundings in the dim light. A tiny white bird, perhaps representing an angel or the Holy Spirit, is perched on the smooth stones. It watches as two other little birds begin to pull at Lazarus’ shroud. These birds are not described in the Bible narrative; they serve as a symbolic interpretation of how Lazarus’ bonds were first loosened.

2007-12-12T11:40:00.000-08:00

Lazarus' Choice

Acrylic on canvas

6 x 6 inches

2007

In this scene, Christ emerges from Dublin Castle as a giant, bent form, to remind the viewer of his later, conquered suffering. Mary and Martha unbind their healed brother, and Christ gently offers Lazarus a strange white plant in the shape of a cross. This cross is another symbol not described in the Bible narrative – it is a small reminder of the personal choice to bear one’s cross and the fruits of that experience.

2007-12-12T11:38:00.000-08:00

Crucifix

Oil on panel
23" x 24"
2007

2007-12-12T11:36:00.000-08:00

Crucifix
Oil on panel
~ 9" x 12"
2007

2007-12-12T11:35:00.000-08:00

Irish Cherub
Marker, glitter pen on paper
9 x 11 inches
2007

This subject is based on a hallmark picture of an Irish angel. Her exaggeratedly small hands, large face and other features are inspired by the style of early Christian icons. The materials -- bright markers and glitter pens – are inspired by Mexican religious folk art. Her bewildered expression evokes gentle humor and sympathy. The dizzying array of colorful marks also creates a sense of festivity.

2007-08-07T19:36:00.000-07:00

Lamp Series: Baptism
Copper intaglio print
4.5" x 6"
2007

2007-08-07T19:35:00.000-07:00

Lamp Series: Last Supper
Copper intaglio print
4.5" x 6"
2007

2007-08-07T19:29:00.000-07:00

Lamp Series: Crucifix
Copper intaglio print
4.5" x 6"
2007

2007-08-07T19:21:00.002-07:00

Steps

Oil on panel

12" x 9"

2007

2007-08-07T19:16:00.001-07:00

"Manger"
Ink and gesso on paper
50" x 38"
2006

2007-08-07T19:13:00.000-07:00

Work in Progress -- Maidens
Oil on panel
12" x 14.75"
2007

2007-08-07T19:12:00.001-07:00

In Prayer (Joan of Arc)

Ink on paper

~11" x 14"

2007

2007-08-07T19:11:00.000-07:00

Crucifixion
Ink on paper
~11" x 14"
2007

2007-02-02T16:26:00.000-08:00

Gethsemane
Ink on paper
11 x 14 inches
2007

In this drawing, the small, prostrate figure of Christ struggles with fear before reaffirming, “Yet not My will, but Yours be done.” (Luke 22:42) This begins the process of his Passion, Crucifixion, and then triumphant Resurrection.

2007-02-02T16:18:00.000-08:00

Nativity
Oil on canvas
8' x 4'
2006

2007-02-02T16:17:00.000-08:00

"Unbinding Lazarus"
Egg tempera on panel
7.75" x 11"
2006

2006-08-01T06:53:00.000-07:00

"Entombment and Discovery"

Oil and acrylic paint on wood panels

9" x 12" per panel

2006

2006-08-01T06:50:00.000-07:00

"Tomb (After Gallarus)" (detail)
Oil on canvas
5' x 5'
2006

2006-08-01T06:49:00.000-07:00

"Tomb (After Gallarus)" (detail)
Oil on canvas
5' x 5'
2006

2006-08-01T06:45:00.000-07:00

"Tomb (After Gallarus)"
Oil on canvas
5' x 5'
2006

2006-08-01T06:17:00.000-07:00

"Nativity" (detail)
Oil on canvas
6' x 5'
2006

2006-08-01T06:14:00.000-07:00

"Nativity" (detail)
Oil on canvas
6' x 5'
2006

2006-08-01T06:06:00.000-07:00

"Nativity"
Oil on canvas
6' x 5'
2006

2006-08-01T05:54:00.000-07:00

"Synapses"
Mixed media on paper
2005

2006-08-01T05:48:00.000-07:00

"Chalice"
Acrylic paint on paper
31" x 48"
2005

2006-08-01T05:45:00.000-07:00

"Gift II"

Ink on ragboard

19" x 13"

2005

2006-08-01T05:42:00.000-07:00

"Gift I"

Charcoal on ragboard

13" x 9"

2005

2006-08-01T05:38:00.000-07:00

"Sacrament"

Ink on paper

27" x 19"

2005

2006-08-01T05:34:00.000-07:00

"Grace"

Oil on canvas

12" x 16"

2005

2006-07-31T20:07:00.000-07:00

"Vestments"

Charcoal on paper

25" x 19"

2005

2006-07-31T19:52:00.000-07:00

"Damsel"
Acrylic paint on board
9.75" x 18"
2005

2006-07-31T19:47:00.000-07:00

"The Sleeping Monk"
Stained glass window
16" x 8"
2005

2006-07-31T19:31:00.000-07:00

"Drapery in Window: Continent"
Oil on canvas
4' x 4'
2005

2006-07-31T19:23:00.000-07:00

"The Garden Gates"
Oil on canvas
5' x 4'
2005

Artist's Statement and Curriculum Vitae

2006-07-29T09:47:00.000-07:00

CURRICULUM VITAE

EDUCATION

2011
Massachusetts College of Art and Design (MassArt), Boston, MA.
M.F.A., 2-D Media.

2007
Brandeis University, Waltham, MA.
Post-Baccalaureate, Studio Art.

2006
Boston University, College of Fine Arts, Boston, MA.
B.F.A., Painting.

SOLO EXHIBITIONS

2009
Basilica of St. Patrick's Old Cathedral, NY, NY. New Work by Kara Waxman.

2007
Chester Beatty Library, Dublin, Ireland (2002 European Museum of the Year). Fulbright Exhibition: New Work by Kara Waxman. Opening Reception Speaker: Colleen Dube, Director of the Irish Fulbright Commission.

HONORS

2010
Nomination, Dedalus Foundation M.F.A. Scholarship.

2009
Beker Award, Merit scholarship from MassArt.

2007
Fulbright Student Award to Ireland 2007-2008
Field: Painting and Printmaking.
Host Affiliation: Chester Beatty Library, Dublin, Ireland
Project Title: A Resurrected Tradition: Catholicism and Painting

Nomination, Mortimer Hays-Brandeis Traveling Fellowship.

2006
Merit Scholarship from Brandeis University.

2005
Dean's Scholar Award, $10,000 Merit award from Boston University (Received 2004, ‘05)

GROUP EXHIBITIONS

2011
808 Gallery, Boston University. Boston Young Contemporaries Exhibition.
Paine and Bakalar Galleries, MassArt. M.F.A. Candidates Thesis Show.

2010
Brant Gallery, MassArt. 5/8's Show, Preview exhibit of MassArt M.F.A. Candidates.
Paine and Bakalar Galleries, MassArt. 21^st Annual Benefit Art Auction, Preview exhibit.
The Long Island Museum, Stony Brook, NY. 2010 Juried Art Competition.

2009
Doran Gallery, MassArt. Hello, my name is…

2007
Back Loft Gallery, Dublin, Ireland. Selection Box.
La Catedral Art Studios, Dublin, Ireland. Dublin Culture Night: Open Art Studios.
Spingold Dreitzer Gallery, Brandeis University. Prospect 1.
808 Gallery, Boston, MA. Arches Student Print Show.   .
Bethlehem Chapel, Brandeis University. (2006 - 07)
Rubin-Frankel Art Gallery, Boston, MA. Juried exhibits, second place award. (2006 - 07)

2006
Commonwealth Gallery, Boston University. Senior Thesis Exhibit.
Tremont Street Exhibits, Boston, MA.
Boston University, College of Fine Arts building and arts events on campus. (2002-06)

2004
S.U.N.Y. Cortland Art Gallery, Cortland, NY. Exhibit of landscape paintings of Ireland.
Mayfire Arts Festival, Boston, MA.

2003
Sherman Gallery, Boston University. Best in Show.

2002
Studio 703, Port Jefferson, NY.

PUBLICATIONS OF ARTWORK

2008
Annual Fulbright Scholars Pamphlet, Dublin, Ireland. Cover image.
Embrace Album, Patricia O’Toole, Dublin, Ireland. Cover image of CD jacket.
Dubliner Magazine, The Month Ahead, May issue, Dublin, Ireland. Featured New Work by Kara Waxman, solo exhibition at the Chester Beatty Library.

EMPLOYMENT AND TEACHING EXPERIENCE

2011
Teaching Assistantship, MassArt, Sophomore Painting,
Professor Nancy Friese.

Fall and spring semesters 2010-11, Introductory course in oil painting techniques, color theory, observational painting and student-developed projects; developed and led two color theory assignments; provided feedback on students’ work throughout each class; arranged and participated in group critiques; led class sessions during professor’s absence; prepared reading materials that were provided by the professor; set up models for class; communicated professor’s requests to students and staff.

Artist-in-Residence, Children’s Hospital Boston, Boston, MA.
Designed and led community painting sessions with patients and families.

2010
Teaching Assistantship, MassArt, Visual Language II,
Professor Jane Marsching.
Spring semester, introductory course in digital media processes (i.e. digital photography, video recording and editing, sound recording and editing, Final Cut Pro) and student-developed projects; provided feedback on students’ work throughout each class; led group critiques; graded student work; led class sessions during professor’s absence; prepared reading materials that were provided by the professor.

2009
Teaching Assistantship, MassArt, Freshman Drawing,
Professor Greg Mencoff.
Fall semester, introductory course in drawing materials (i.e. pencil, charcoal, ink), observational drawing and student-developed projects; provided feedback on students’ work throughout each class; participated in group critiques; obtained reading materials for students.

Sales Associate, American Folk Art Museum, NY, NY. (2008-09)

2008
Museum Education Volunteer, Chester Beatty Library, Dublin, Ireland. (2007-08)
Designed coloring book activity for children, attended training sessions.

2007
Teaching Fellowship, Brandeis University, Intro to Drawing,
Professor Sean Downey.
Spring semester, introductory course in drawing materials (i.e. pencil, charcoal, ink), observational drawing and student-developed projects; provided feedback on students’ work throughout each class; participated in group critiques; led class session during professor’s absence; obtained reading materials for students.

Administrative Assistant, Boston University, Visual Arts Department and Catholic Center.

2005
Apprenticeship in Exhibition Design, Hirsch and Associates, New York, NY.

Internship, Heckscher Museum, Huntington, NY, ArtSense Program. (2004-05)
Head Intern and art teacher’s assistant for children and teenagers ages 7-16.

2001
Internship, Metropolitan Museum of Art, NY, NY, High School Summer Internship Program.
Tour Guide for children’s camp groups, research project on Gauguin.

PERSONAL STATEMENT

Much of my recent artwork depicts the domestic activities that I carry out each day and portrays the different perceptual experiences that I encounter during these rituals. In works such as “Advent (After Dinner)” or “Morning Email,” I am interested in describing how the artificial light within a room appears to become muted when one focuses on lighted candles, or how the flat, synthetic light of a laptop’s screen is perceived within a room that is flooded with daylight. I am intrigued by how contemporary technologies, especially those that incorporate LCD screens such as netbooks and iPhones, are perceptually impacting our experiences of the domestic spaces that these technologies have come to inhabit -- and also how these technologies have become part of daily domestic rituals.

The speed of recognition of online text, symbols and concepts when one reads online news, for instance, is often very quick, if not instantaneous. This presents tremendous and vastly numerous benefits depending on the need and context. However, over time it can also develop expectations of immediate gratification in other life situations that are better served by patience, concentration and meditation, whether in fulfilling long-term life goals or in completing simple, everyday tasks that require mental focus in the midst of distractions.

I am interested in how a work of art can act as a balancing force to this propensity towards instant gratification when a work of art involves a level of meditation or contemplation in its creation and when it also evokes a contemplative sensibility in its viewers. I enjoy my creative process most when it is an opportunity to break the frenetic pace of a busy day or the monotony of certain routines; when it is a time to gather my thoughts and focus my attention on creating an artwork that expresses these meditative and anxious temperaments, whether through creating subtle shifts in tone or building up layers of small embroidery stiches with almost obsessive precision. In a piece like “Morning Reading,” I sought to compare these modes of perception through weaving a piece where some forms are created through very subtle shifts in hue and value while other shapes are built with brightly colored yarns to form solid blocks of teal or pink. The laptop screen, while still somewhat abstracted, is more immediately recognizable than its surrounding environment, particularly if one steps close to the piece. From a distance, the viewer’s eyes can readjust to the limited range of tonalities in other parts of the piece and he or she can begin to discern that certain gray shapes depict a mug, tea pot and window. In this way, I hope to slow down the viewer’s expectation of instant recognition of objects and instead to help him or her to focus more on the physical experience of the artwork, on its textures and materials, delicate washes of color and the questions the artwork raises about how it was constructed and its meaning.