BOSTON, MASS.- Boston University Art Galleries, the newly formed consortium comprised of the Stone Gallery and Annex, 808 Gallery, and Sherman Gallery, is pleased to announce upcoming exhibitions and programming.

Serving the Boston University community, as well as the greater Boston and New England public, BUAG is committed to a culturally inclusive and interdisciplinary interpretation of art and culture. Located within walking distance on the Boston University campus, the Art Galleries maintain an ongoing schedule of temporary exhibitions in four locations that focus on contemporary international, national, and regional art developments.

Upcoming exhibitions to include: Paul Emmanuel: Remnants; Lynne Harlow: Sweetheart of the Rodeo; Joe Ablow: Qualities of Stillness; and Stacey Piwinski: It’s not you, it’s me.

Stone Gallery
Qualities of Stillness: Paintings by Joseph Ablow
January 22 – March 20, 2016
Qualities of Stillness: Paintings by Joseph Ablow surveys three decades of still-life painting of venerated Boston University School of Visual Arts Professor Emeritus Joseph Ablow. The artist dedicated his later studio practice to the consideration of simple and ordinary objects, often in sparsely composed table studies, imbuing his subjects with symbolic content and an unexpected complexity. His watercolors, gouache, and oil paintings not only explore and expand the conventions of still-life painting, but also illuminate the relationship between pictorial space and depicted objects.

Joseph Ablow has held academic positions at Amherst College, Wellesley College, Bard College, and Middlebury College, and was Professor Emeritus at Boston University. Ablow served as Associate Professor of Art in the School of Visual Arts (then called the Division of Art) from 1963 to 1975, achieving the rank of Professor in 1975, a position held until his retirement in 1995. Ablow was Chairman of the Division of Art from 1964 to 1967 also serving as the director of the Boston University Art Gallery in that period (now called the Faye G., Jo and James Stone Gallery) when the gallery was managed and curated by the fine arts faculty.

Ablow’s critical writings have been published in Bostonia magazine and his works have been exhibited nationally and internationally from the Art Institute of Chicago to Kunstsalon Wolfsberg in Zurich, Switzerland. Ablow’s paintings can be found in numerous private and public collections, including Brandeis University, the Mead Art Museum at Amherst College, the Boston Public Library, and the DeCordova Museum.

The Annex
Lynne Harlow: Sweetheart of the Rodeo
January 22 – March 20, 2016
Lynne Harlow uses minimalist forms to transform mundane spaces into immersive environments that pulsate with light and color. Harlow works with everyday materials, such as colored fabric or vinyl, and also incorporates sound or live music to affect a moving and multi-sensory experience for the viewer. Continuing the Boston University Art Galleries’ series of site-specific projects for the Annex, Harlow takes a minimalist approach. Using broad swaths of painted color and modest materials as the works’ primary elements, Harlow will create an installation that transforms and exploits the odd character of the space in surprising ways.

Lynne Harlow has exhibited regularly in the U.S. and internationally. Recent exhibitions include Pink at Drive-By Projects, the 2013 DeCordova Biennial at the DeCordova Sculpture Park and Museum, and Sculpture from the Contemporary Collection at the RISD Museum of Art, as well as solo projects at MINUS SPACE and Liliana Bloch Gallery. In 2002, she was a Visiting Artist at the Chinati Foundation in Marfa, TX, where she lived and worked onsite with unrestricted access to its resources.

Collections include The Metropolitan Museum of Art; The Museum of Modern Art, Library Special Collections; The Phillips Collection; The RISD Museum of Art; and The New York Public Library. She holds an M.F.A. from Hunter College, CUNY. Harlow’s work is represented by MINUS SPACE and Liliana Bloch Gallery.

808 Gallery
Paul Emmanuel: Remnants
January 29 – March 20, 2015
The South African artist Paul Emmanuel employs various media to reveal layered visions concerned with his identity living in post-apartheid South Africa. Over the last decade, Emmanuel has been engaged with his ongoing Lost Men project, a series of elegiac counter-memorials installed in public spaces in South Africa, Mozambique, and France. Paul Emmanuel: Remnants features artworks related to the artist’s The Lost Men France, which was installed adjacent to the Thiepval Memorial to the Missing of the Somme in France during the summer of 2014. The Lost Men France, the third in the Lost Men series, comprises five large silk banners depicting images of the artist’s body bearing names of French, German, South African, and Allied servicemen impressed into his skin, without reference to rank, nationality, or ethnicity. Paul Emmanuel: Remnants underscores concepts of loss, memory, and processes of memorialization in an evocative installation centered around the literal “remnants” of the The Lost Men France banners, which were torn and battered by the summer winds of the Somme. The banners are complemented by a selection of video, drawings, prints, and plaster casts of the artist’s body.

Born in 1969 in Kabwe, Zambia, Emmanuel graduated from the University of the Witwatersrand, Johannesburg, in 1993. He currently lives and works in Johannesburg, South Africa.

Emmanuel has exhibited his work in South Africa and abroad. In 2008 his touring solo museum exhibition, Transitions, premiered at The Apartheid Museum, Johannesburg, featuring his critically acclaimed short, non-narrative film 3SAI: A Rite of Passage. The film won the 2009 jury prize at Edinburgh's 4th Africa-In-Motion International Film Festival, UK, and the 2010 Best Experimental Film Award on the 5th Sardinia International Film Festival, Italy. Transitions debuted its 2010 international tour at the Smithsonian National Museum of African Art, Washington, D.C. In 2004, Phase 1 of his series of counter-memorials, The Lost Men, was launched at the Grahamstown National Arts Festival in Grahamstown, South Africa. In 2007, Phase 2 of this project took place in Maputo, Mozambique. In July 2014 The Lost Men France was installed adjacent to the Thiepval Memorial to the Missing of the Somme, Northern France.

Sherman Gallery
Stacey Piwinski: It’s not you, it’s me
January 22 – March 4, 2016
Although her work speaks to painterly concerns, Stacey Piwinski (CFA’99,’00) uses textiles and found materials to create intricate weavings that consider the passage of time, the tactility of material, and interpersonal relationships. In her fabric scrolls and mixed media works, Piwiniski carefully re-contextualizes objects that have personal significance or simply have been left behind. In these material and personal explorations of memory, Piwinski allows the objects to weave together new meanings and to tell new stories.

Stacey Piwinski was born in Lawrence, MA, in 1976. She received her BFA in painting in 1999, her MFA in studio teaching in 2000 from Boston University, and most recently her MFA in visual arts from Lesley University in January 2014. Stacey participated in the Japan Fulbright Memorial Teaching Program in 2005 and was inspired by Japanese textiles, specifically Saori Weaving. As an arts educator in the Wellesley Public Schools, she has facilitated community-weaving projects as a way of connecting individuals. Weaving as a metaphor for bringing people together is a thread that runs through all of her work.