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About Catherine Carter |
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I was born in Providence, Rhode Island, and grew up in Massachusetts. My interest in textiles and drawing led me to a degree in fashion design and work as assistant to a Boston couturier. Then a position at the Museum of Fine Arts in Boston sparked my interest in painting. After receiving a bachelor's degree from Lesley University, I went on to earn a Master of Fine Arts degree in painting from the University of Massachusetts Dartmouth. I have exhibited in solo shows at the Genovese/Sullivan Gallery, the Danforth Museum of Art and Lesley University, as well as three-person shows at Pine Manor College and Bristol Community College. Group shows include the Chrysler Museum of Art, the New Bedford Art Museum, the Fuller Craft Museum, and Bunker Hill Community College, among others. I have been awarded a grant from the St. Botolph Club Foundation in Boston, and my work is included in numerous corporate collections such as Berkshire Partners in Boston, Meditech Information Technology in Fall River, and Verenium Corporation in Cambridge. Two of my paintings are currently on exhibit at the United States Embassy in Cameroon, as part of the ART In Embassies Program. In addition to painting, I currently teach at Framingham State College and the Danforth Museum School, where I have developed courses in botanical illustration, fashion illustration and landscape drawing. I also write art reviews for the New Bedford Standard-Times. |
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SOLO EXHIBITIONS: “Sky, Stem, Stream,” New England Currents, Danforth Museum of Art, Framingham, MA, 2005 |
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TWO- AND THREE-PERSON EXHIBITIONS: “Walls and Webs,” Narrows Center for the Arts, Fall River, MA, 2010 |
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SELECTED GROUP EXHIBITIONS: ART In Embassies Program, U.S. Embassy in Yaounde, Cameroon, 2008-2011 |
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AWARDS: St. Botolph Club Foundation, Grant-in-Aid, 2002 |
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EDUCATION: Master of Fine Art in Painting, University of Massachusetts Dartmouth, 1997 |
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SELECTED BIBLIOGRAPHY: "Line Dance" by Cate McQuaid, Boston Globe, 1/29/09 |
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COLLECTIONS: Berkshire Partners, Boston, MA |
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"Line Dance" by Cate McQuaid, The Boston Globe, January 29, 2009 "[Curator Susan] Goldwitz has assembled a terrific mix of some of the region's best artists ... The gyrating loops in Catherine Carter's 'Coil V' work in acrylic and spray paint seem generated from the mist surrounding them ... " |
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ART In Embassies Exhibition Catalog, United States Embassy, Younde, Cameroon; Introduction by Ambassador Janet E. Garvey, April 2008 “Patterns abound in the varied media of the exhibition. … In the playful pair of works by Catherine Carter, the artist’s lines follow infinite permutations within a finite space.” |
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"Painter throws curves at Genovese/Sullivan" by Cate McQuaid, The Boston Globe, December 19, 2003
"The paintings pop off the wall, thanks to the sheer tension of her gestures and thanks to the contrast: All the paintings are either black-on-white or white-on-black. … Carter displays a handful of different recipes. Many of the 'Coil' paintings bring to mind the joyful wagging of a dog's tail. Two larger works, 'Curve' and 'Swirl,' sport colliding loop-the-loops, like a slinky gone horribly awry. … The white-on-black pieces are sexier, provoking an Op Art kind of retinal buzz. But the black-on-white paintings are more satisfying: The white veils but does not hide dark gestures just beneath the surface, which suggest shadows, depth, and inner turmoil. So 'Swirl' shows those aggressive, black curlicues careening over the canvas as white hazes over their sharp edges and obscures occasional lines, imbuing the painting with spaciousness." |
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"Giller's towers are a delight in the detail” by Cate McQuaid, The Boston Globe, December 22, 2001 "Patterning and technique are consistent, but the paintings vary widely in tone. 'Bouquet' starts with a spray-painted pattern of plum-toned rings with pale veins. Carter cut her fabric into rough Xs and pasted them in a diagonal grid on the white-painted canvas, so white squares dapple the surface in a moody checkerboard. Ethereal purple rings play tag with the squares, shifting from foreground to background, making a pleasing counterpoint between solidity and haze, reality and imagination. … ‘Hook' features a pattern of two hooks looping away from each other, white on a black ground, repeated in horizontal stripes across the canvas. They could be handcuffs, eyeglasses, breasts -- whatever they are, they're disturbing, even harsh. Carter's formula for making art generates work both pleasing and harrowing, and that's good." |
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"Thayer Street Abstracts" by Christina Pugh, artsMEDIA, Summer 2000 " ... Catherine Carter is also concerned with the margin between painting or design and writing, but to very different ends. As exemplified in 'Crust,' her mixed media work features patterning, in a proto-script of thickened white loops set in dark horizontal blocks. In these pieces, she achieves an effect of primitive marking that is somewhat reminiscent of the expressionistic pre-drip Pollock. Her patterning exceeds the frame of the canvas, just as the white embryonic 'writing' exceeds its bricked horizontal units. As in all good abstraction, the work points to a certain writing before the writing: writing what one didn't know one knew. … All three of the artists here show a seriousness of abstract purpose that is refreshing in a time of sensationalism and nostalgia. Their works exhibit a maximum of formal mastery coupled with a minimum of self-consciousness." |
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This page was last updated 9 June 2010 The entire contents of this website © 2006-2009 Catherine Carter, All Rights Reserved. |