2022 Exhibitions

Members Exhibition


December 4, 2021 – May 8, 2022

Juror: Stephanie Haboush Plunkett, Deputy Director and Chief Curator of the Norman Rockwell Museum

Each year, New Bedford Art Museum puts out a call to members inviting them to submit their artworks to be considered for the show, and each year the museum is excited to see what its community has been making.

Nancy Whitcomb's Dog Eat Dog World was awarded Best in Show. Susan Gilmore's Blustery was the first runner up and Dora Atwater Millikin's Nantucket Light Ship was the second runner up. The honorable mention and staff pick were Susan Costa’s Red Bag and Elizabeth Stanton’s Waiting on Citrus to Ripen, respectively.

This year's members who passed juries include Adrian Tio, Allen Constant, Barbara McDowell, Bill Popik, Brittany Grimes, Carol Scavotto, Carole Constant, Chip Davenport, Corinna Raznikov, Danya Bichsel, Deb Smook, Denn Santoro, Dora Atwater Millikin, Elizabeth Stanton, Emmett Barnacle, Eric Lintala, Helen Bryant, Iwona Lapczyk, JP Powel, Jane Bregoli, Jane O'Hara, Jill Law, Jim Sears, Judith Klein, Keith M. Francis, Kendra J. Conn, Kim Barry, Kristina N. Occhino, Lelia Stokes Weinstein, Lynne Byers, Marty Keating, Mary N. Hurwitz, Mia Pelletier, Milton H. Brightman, Morgan Spaulding, Nancy Whitcomb, Ray Genereux, Robert Dunn, Ron Fortier, Roy Rossow, Skip Treglia, Susan Costa, and Susan Gilmore.

In Residence: NPS AIR + CAIR Alumni Exhibition


June 9, 2022 - November 13, 2022

New Bedford Art Museum and New Bedford Whaling National Historical Park proudly presented IN RESIDENCE: NPS AIR + CAIR ALUMNI EXHIBITION. Both the Art Museum and the National Park Service have hosted local creatives in their Artist-In-Residence programs and were honored to invite alumni to showcase their works in a group exhibition at NBAM/ArtWorks!. The programs offer local artists space, time, and resources to develop their work and are designed to create access points for artists and community members to engage more deeply with our collective stories.

Alumni Artists:
Amy Araujo
Iva Brito
Dan Borelli
Fitzcarmel LaMarre
Wanda C. Medina
Sandra Santos
Carl Simmons
Dawn Spears
Deana Tavares
Andrew Tedesco

One Whale Makes Seven Shores Prosperous

Image of Whale Scroll (people hunting whale)

February 11, 2022 – June 6, 2022

From the Collection of the New Bedford Free Public Library

Traditional Japanese whaling was a community enterprise that created wealth and work for coastal towns in Japan during the whale’s migratory season. The bounty of food and other goods made from a whale was a big boon to the local economy, exemplified by the proverb Nana ura tairyo hanjo no zu or “One whale makes seven shores prosperous.” This whaling scroll from the library’s collection includes beautiful illustrations of the whales, tools, and methods used to hunt whales in Japan during the 18th century.

Joe Banda


April 30, 2022 - September 11, 2022

Joe Banda was born and raised in Bristol Connecticut. After struggling through high school academically and socially, he eventually went on to study fine art and illustration at Delaware College of Art and Design and Montserrat College of Art earning a Bachelor’s Degree in Fine Art. During the ups and downs of college and a few failed career choices, Joe discovered his love for painting. Combining the tight rules of illustration with the loose nature of non-objective painting; Joe discovered a happy medium, where he could truly express himself. Joe now resides in Beverly, Massachusetts with his wife and daughter.

The Triumphs of Alexander

Defeat of Porus_detail

July 1, 2022 – November 17, 2022

From the Collection of the New Bedford Free Public Library

Louis XIV, King of France from 1643 to 1715, was known for surrounding himself with the brightest minds of his time, including Politicians, Artists, Musicians, and Writers. Among these was Charles Le Brun, who Louis XIV commissioned to paint a series of grand pictures depicting the triumphs of Alexander the Great, with whom the Sun King felt a sense of kinship.

Charles Le Brun had been a painter in the royal service since 1647, but after the king commissioned this series and was presented with the first of the paintings, he was elevated to Premier Peintre du Roi (First Painter of the King). 

While these paintings were meant to flatter the king with their comparison, they also exemplify Le Brun’s career, from the very beginning of his success with Alexander Before the Family of Darius to the completion of a triumphant series and the cementing of his personal style with Alexander and Porus, and ending with a late-in-life revisiting of the same subject in The Defeat of Porus.

Comfort & Displacement: The Art of Richard Neal

8. Richard Neal ''Shack Wacky'' oil, antique wood, copper, plastic, wire, and clothing 46X50'' 2020

November 17, 2022 - February 26, 2023

Recent abstract paintings and wall hanging sculpture by Richard Neal. Organized by our independent guest curator, Don Wilkinson. Curator's statement:

"Richard Neal’s paintings and assemblages do not fit into any neat category. The work hovers in that nexus between the representational and the abstract, flirting with both but married to neither. It is tumultuous and yet somehow reserved. It is 'all-up-in-your-face' dramatic while it leans in and whispers to the patient viewer.

The work that I selected for this exhibition was created over several years and while I did not consciously seek out a common narrative, one made itself manifest. Throughout the work, backcountry shacks, suburban houses, apartment buildings and skyscrapers unrelentingly take center stage. But none of those structures read as happy homes. Not anymore.

The exhibition is called 'Comfort and Displacement' as this selection of work evokes a palpable sense of loss. The abodes appear abandoned, the towers are tumbling, the boulevard in 'Big City' borders on the post-apocalyptic.

Comfort can rapidly evaporate. Slow or sudden displacement-- brought about by divorce, abandonment, foreclosure, gentrification, terrorism, war or a hundred other reasons-- is part of the human condition.

Neal’s work forces us to confront that discomforting thought and take notice."

Lemuel Eldred: Whale Ships at Wharves, Painter's Prints of a Bygone Era

"Home Port" by Lemuel Eldred

December 1, 2022 - February 19, 2023

Mentored in the studio of William Bradford, Lemuel Eldred was a Fairhaven artist, well known for painting marine and desert scenes, and later as a printmaker.

As the whaling industry drew to a close at the end of the 19th century, Eldred captured the return of the ships as they docked in New Bedford for decommissioning.

Eldred’s preferred technique for this potentially sentimental subject was etching because he strongly felt it to be the best vehicle for direct expression.

Elegiac and elegant, Eldred’s prints faithfully capture the retired vessels' quiet majesty resting at their final destination, in the city in which they originated, the city that for a time lit the whole world.

Yarn/Rope/String: Fiber Art Now Juried Exhibition

Br00klyn BettySM

Tommye Scanlin A Year of My Life: 2018 2018 wool, natural dye, linen; hand woven tapestry; 52 x 11 x 1 in.
Jessie Bloom Beacon 2021 linen, tencel, hand dyed nylon; 60 x 36 in. with bar
Virginia Mahoney Blinders 2021 copper, reclaimed fabric, food net, thread, string; soldered copper frame, wound and stretched fabric, hand stitching, embroidery; 36 x 24 x 15 in.
Meredith Strauss Blockchain 2021 nylon rope, grip mat; ikat dyeing and stitching; 34 x 40 x .5 in.
Kimberly English Blood, Breath, Gradient 2021 secondhand t-shirts, reclaimed yarn; hand weaving; 72 x 108 x 2 in.
Kandy Lopez Br00klyn Betty 2021 yarn, spray paint, plastic canvas; hand weaving, painting; 90 x 60 in.
Betty Vera Breathing 2020 cotton; jacquard tapestry, hand embroidery; 46 x 59 in.
Heather Larsen Caprice 2019 wool, cotton, silk, tender weft/cotton warp; 24 x 18 x 1 in.
Mary Zicafoose Crane Count Week No.7, Platte River 2022 2-ply Crown Colony wool on 8/3 linen warp, indigo vat dye, PRO WashFast Acid Dye; created completely using weft-faced ikat, resist- wrapped yarns dyed in indigo; 38 x 132 x 1 in.
Ingrid Restemayer Dangerous Cargo 2020 mixed media, paper; etching and hand embroidery; 20 x 20 in.
Dale Roberts Distorts – Installation View 2007-2019 found objects; crochet; 108 x 216 x 72 in.
Kristen Kaas Emanate 3 2021 linen, silk, acrylic; hand woven triple cloth; 20.75 x 15.5 x 2 in.
Meredith Strauss Embrace 2021 nylon cord, polyester matt; 45 x 19 in.
Christine Miller Encoded 2020 8-gauge wire warp, 28-gauge wire weft, fiber wefts, beads, 28-gauge wire embellishments; handwoven on an 8-shaft floor loom, all elements shaped by hand and stitched together with wire; 9 x 6 x 6 in.
Saaraliisa Ylitalo Evanescence 2021 pine paper, mulberry paper; 48 x 36 in.
Alex Friedman Flow 10: Twisted 2019 wool weft, cotton warp; hand woven tapestry; 38 x 38 x 1 in.
Deborah Corsini Golden Boy/Black Widow 2021 wool, natural dyes, cotton bandana, Lurex, rayon on cotton warp; hand woven wedge weave, eccentric weave tapestry; 54 x 33 x .5 in.
Sarah Haskell Hold Me Like A Mother: Red 2022 Maine beach stones, naturally dyed linen thread; hand crocheted; 20 x 18 x 2 in.
Sinéad Hornak I Wish I Said I Loved You 2021 cotton yarn and thread; jacquard weaving, freehand embroidery; 22 x 17.5 x 1 in.
Jill Green Knots and Bristles 2021 wood handle brush, natural bristles, waxed linen; 3 x 4 in.
Jerold Ehrlich Left Hanging 2012 rebar; foraging, welding, grinding; 6 x 12 x 12 in.
Laura Strand Light of Dawn 2018 cotton yarn, fiber-reactive dye, silver leaf, silver leaf image of Eve; hand woven, hand painted; 35 x 54 x .5 in.
Robin Bernstein Lorenzo’s Primo 2018 string (some vintage), wax, wood; jigsaw cut plywood, surface of melted beeswax and other materials smoothed as it cools, string pressed into the wax; 37 x 44 x 1 in.
Anita Bracalente Midwest Landscape III Rural Crafts: Breadbasket Doily 2015 perle cotton, Czech seed beads, cotton thread; knitting, stitching; 8.5 x 16.5 in.
Melissa Lusk and McCrystle Wood Meander 09 2020 linen warp, wool weft; hand woven, shaft switch technique on a four-shaft loom; 61 x 25 x 1 in.
Saaraliisa Ylitalo Memory Catcher 2020 mulberry paper, pine paper, indigo, gold leaf; hand spinning, hand netting, indigo dyeing; 48 x 48 in.
Rebecca Smith Night Fire 2016 yarn, beads, wire; tapestry weaving; 16 x 27 x 2 in.
Denise Kovnat Pagoda 2019 hand-dyed reeled silk, three painted warps combined; echo threading, 12 shafts; shawl
Katherine Hunt Permutation 4 2020 cotton fiber, graphite, glue, latex, acrylic, cotton canvas; glued, painted; 36 x 36 x 1.5 in.
Ruth Manning Prism Sticker 2020 cotton, wool, silk, linen, rayon, spun paper, metallics, ribbon, Mylar, plastic netting, fabric, acrylic painted mounting; traditional handwoven tapestry, wedge weave tapestry, slit tapestry, sewing, half hitch knotting; 12 x 9 x 1 in.
Debra Disman Profusion 2018 bookboard, mulberry paper, watercolor paper, hemp cord, raw canvas, awl; sewing, stitching, threading, knotting, tying, folding, gluing, hole-punching; 8.75 x 24.5 x 7.75 in.
Yulie Urano Red Home 2019 handmade paper, hair, ink, sashiko thread; paper making, letterpress, sashiko embroidery; 9 x 10.5 in.
Suzannne Paquette Retour 2020 cotton warp, wool weft with some synthetic fibers; tapestry on vertical Gobelin loom; 70 x 35 x .5 in.
Caroline Bagenal Shift 2022 paper, embroidery threads, yarn; embroidery; 14 x 8 in.
Nolan Wright Skirting the Issue 2020 pine needles, waxed linen thread, poly and c-lon cord, anodized wire, dyes, acrylic paint; 8 x 12 x 12 in.
Erika Diamond Spider Vest 2018 Kevlar thread, donated fabrics, pearl cotton, gold gimp; bobbin lace, hand weaving on floor loom; 50 x 16 x 3 in.
Minna Rothman Svalbard: Arctic Glacier Melting 2021 wool, linen, silk, silk boucle, cotton lining; linen warp and weft (The use of linen weft enabled use of various weaving)
Susan Iverson Two Paths/Same Path 2020 wool, silk, linen; 63 x 38.5 x 8 in.

Um ano da minha vida: 2018 Tommye Scanlin 2018 lã, corante natural, linho; tapeçaria tecida à mão; 132 x 28 x 2,5 cm.
Farol Jessie Bloom 2021 linho, tencel, nylon tingido à mão; 152,5 x 91,5 cm. com barra
Antolhos Virginia Mahoney 2021 cobre, tecido recuperado, rede alimentar, linha, fio; armação em cobre soldado, tecido enrolado e esticado, costura à mão, bordado; 91,5 x 61 x 38 cm.
Cadeia de blocos Meredith Strauss 2021 corda de nylon, tapete de aderência; tingimento e costura ikat; 86,5 x 101,5 x 1,5 cm.
Sangue, respiração, gradiente Kimberly English 2021 camisetas de segunda mão, fio recuperado; tecelagem à mão; 183 x 274 x 5 cm.
Betty de Br00klyn Kandy Lopez 2021 fio, tinta spray, lona plástica; tecelagem à mão, pintura; 228,5 x 152,5 cm.
Respiração Betty Vera 2020 algodão; tapeçaria jacquard, bordado à mão; 117 x 150 cm.
bettyvera.com Capricho Heather Larsen 2019 lã, algodão, seda, trama tencel/urdidura de algodão; 70 x 45,5 x 2,5 cm.
Contagem de grous, semana nº. 7, Rio Platte Mary Zicafoose 2022 2 camadas de lã Colônia da Coroa [Crown Colony] em urdidura de linho 8/3, tinta de cuba de índigo, tinta ácida PRO WashFast; criado completamente com ikat de face de trama, fios embrulhados em resistido e tingidos em índigo; 96,5 x 335,5 x 2,5 cm.
Carga perigosa Ingrid Restemayer 2020 técnica mista, papel; gravura e bordado à mão; 51 x 51 cm.
Distorções – Vista da instalação Dale Roberts 2007–2019 objetos encontrados; crochê; 274,5 x 548,5 x 183 cm.
Emanar 3 Kristen Kaas 2021 linho, seda, acrílico; tecido triplo feito à mão; 53 x 39,5 x 5 cm.
Abraço Meredith Strauss 2021 cordão de nylon, poliéster mate; 114 x 48 cm.
Codificado Christine Miller 2020 urdidura de arame de calibre 28, trama de arame de calibre 28, tramas de fibra, contas, enfeites de arame de calibre 28; tecido à mão em um tear de chão de 8 eixos, todos os elementos moldados à mão e costurados com arame; 23 x 15 x 15 cm.
Evanescência Saaraliisa Ylitalo 2011 papel de pinho, papel de amoreira; 122 x 91,5 cm.
Fluxo 10: Torcido Alex Friedman 2019 trama de lã, urdidura de algodão; tapeçaria tecida à mão; 96,5 x 96,5 x 2,5 cm.
Menino dourado/Viúva Negra Deborah Corsini 2021 lã, tintas naturais, bandana de algodão, Lurex, rayon sobre urdidura de algodão; tecido à mão em cunha, tapeçaria de trama excêntrica; 137 x 84 x 1 cm.
Abraça-me como uma mãe: Vermelho Sarah Haskell 2022 pedras de praia de Maine, fio de linho tingido naturalmente; crochê à mão; 51 x 46 x 5 cm.
Quem me dera ter dito que te amava Sinéad Hornak 2021 fios e linhas de algodão; tecelagem jacquard, bordado à mão livre; 56 x 44,5 x 2,5 cm.
Deixado pendurado Jerold Ehrlich 2012 vergalhão; forrageamento, soldagem, moagem; 15 x 30,5 x 30,5 cm.
Luz do amanhecer Laura Strand 2018 fio de algodão, tinta de fibra reativa, folha de prata, imagem de Eva em folha de prata; tecido à mão, pintado à mão; 86 x 137 x 1 cm.
O Primo de Lorenzo Robin Bernstein 2019 corda (algumas vintage), cera, madeira; madeira compensada cortada com serra de recortes, superfície de cera de abelha derretida e outros materiais alisados ao esfriar, corda pressionada na cera; 94 x 112 x 2,5 cm.
Paisagem do Centro-Oeste III Artesanato Rural: Doce de cesta de pão Anita Bracalente 2015 algodão perlé, contas de sementes tchecas, fio de algodão; tricô, costura; 21,5 x 42 cm.
Meandro 09 Melissa Lusk e McCrystle Wood 2020 urdidura do linho, trama de lã; tecido à mão, técnica de troca de eixo em um tear de quatro eixos; 155 x 63,5 x 3,5 cm.
Apanhador de memória Saaraliisa Ylitalo 2020 papel de amoreira, papel de pinho, índigo, folha de ouro; fiado à mão, tecido à mão, tingido com índigo; 122 x 122 cm.
Fogo noturno Rebecca Smith 2016 fios, contas, arame; tecelagem de tapeçaria; 40,5 x 68,5 x 5 cm.
Pagoda Denise Kovnat 2019 seda enrolada tingida à mão, três urdiduras pintadas combinadas; enfiamento eco, 12 eixos; xale
Permutação 4 Katherine Hunt 2020 fibra de algodão, grafite, cola, látex, acrílico, tela de algodão; colado, pintado; 91,5 x 91,5 x 4 cm.
Adesivo Prisma Ruth Manning 2020 algodão, lã, seda, linho, rayon, papel fiado, metálicos, fita, Mylar, malha de plástico, tecido, montagem pintada com acrílico; tapeçaria tradicional tecida à mão, tapeçaria em cunha, tapeçaria rasgada, costura, nó de meio engate; 30,5 x 23 x 2,5 cm.
Profusão Debra Disman 2018 cartão para livros, papel de amoreira, papel de aquarela, corda de cânhamo, lona crua, furador; pontos, costura, enfiamento, atadura, amarração, dobra, colagem, perfuração; 22 x 62 x 19,5 cm.
Casa Vermelha Yulie Urano 2019 papel artesanal, cabelo, tinta, fio sashiko; fabricação de papel, tipografia, bordado sashiko; 23 x 26,5 cm.
Linha Betty Vera 2021 linhas de algodão, marcadores têxteis; fotografias manipuladas digitalmente, tecelagem Jacquard em moinho, colorida à mão linha a linha, bordado; 169 x 124,5 x 2,5 cm.
Deslocamento Caroline Bagenal 2022 papel, linhas de bordar, fio, bordado; 35,5 x 20 cm.
Bordear a questão Nolan Wright 2020 agulhas de pinho, fio de linho encerado, cabo de poliéster e c-lon, arame anodizado, tintas, pintura acrílica; 20 x 30,5 x 30,5 cm.
Colete Aranha Erika Diamond 2018 fio de Kevlar, telas doadas, algodão perlado, gimp dourado; renda de bobina, tecido à mão em tear de chão; 127 x 40,5 x 7,5 cm.
Svalbard: O derretimento dos glaciares árticos Minna Rothman lã, linho, seda, boucle de seda, forro de algodão; urdidura e trama de linho (o uso da trama de linho permitiu o uso de diversos tipos de tecelagem).
Dois caminhos/Mesmo caminho Susan Iverson 2020 lã, seda, linho; 160 x 98 x 20 cm.

December 8, 2022 - March 12, 2023

The Fiber Art Now Yarn/Rope/String exhibitions were designed to encourage innovative use of fibers that artists incorporate into new and exciting works of art. The jurors for the 2021 and 2022 exhibitions in print had this to say about the expanse of this expressive niche of fiber art:

“Yarn/Rope/String features a selection of arresting pieces that showcase some of the best craftsmanship in fiber today. Whether grappling with the uncertainties of the age or deep in exploration of material and process, these pieces grab on and ask you to look closer, and for longer. Selecting from so many excellent submissions was no easy task, a sign of exciting things to come in the field. Above all, the works in Yarn/Rope/String prompt delight, wonderment, and contemplation through their skillful execution.”

Yarn/Rope/String 2021 juror and tapestry artist Micala Sidore stated, “It is terrific to see how many people choose fiber as a means to express themselves. Not all the work displays the same level of ability—it never does. But it testifies to the engagement of the makers. I seek work that makes the hair on the back of my neck stand up. The last of these criteria is what tells me that I am seeing something that is special.” Over the past 40 years, Sidore has given talks, published more than 45 articles, and exhibited her own work in North America, Australia, and Poland. She is the author of The Art is the Cloth (Schiffer Books, 2020).

Yarn/Rope/String 2022 juror Michael F. Rohde has been weaving since 1973. His work is in the permanent collections of the George Washington University Museum, The Textile Museum in Washington, DC; the Mingei Museum in San Diego, California; the San Jose Museum of Quilts & Textiles in San Jose, California; the Ventura County Museum of Art in Ventura, California; the Racine Art Museum in Racine, Wisconsin; and The Art Institute of Chicago in Chicago, Illinois. “It is always a special privilege to be given the chance to see a large body of work, but a challenge to select only a few,” said Rohde. “Some of the things I looked for and found include excellence in craftsmanship, new ways of expressing ideas with fiber, and occasionally work that addressed what happens outside of the studios yet impacts us all. Not all works embodied all criteria. This led to a selection that was diverse and hopefully with some things that are new to each of us.”