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Thursday, May 23

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

WILD: Wildlife Paintings and Drawings

The Arts Council of Princeton of Princeton is pleased to present an exhibition of wildlife related artworks by Charles David Viera in support of the Wildlife Painting and Drawing class offered for adults.

Horses, wolves, birds, and other animals are featured in these paintings and drawings for the aesthetic value and emotional impact that they inspire in this artist and longtime ACP instructor. The public is invited to join us for the exhibition opening, enjoy the exhibition, and register for the accompanying studio class.

[caption id="attachment_23677" align="aligncenter" width="492"] Fox Hunt : Duck
20 x 20 inches
Acrylic[/caption]

Friday, May 24

Dance, Princeton, Dance: Disco Fever!

- Suggested donation: $5

Gather your friends and get ready to boogie! The ACP’s Solley Theater will be transformed into a Disco dance party with tunes, snacks, and best of all, a celebration of community! Groovy dress code encouraged.

[caption id="attachment_24388" align="aligncenter" width="789"] Click to enlarge![/caption]

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

WILD: Wildlife Paintings and Drawings

The Arts Council of Princeton of Princeton is pleased to present an exhibition of wildlife related artworks by Charles David Viera in support of the Wildlife Painting and Drawing class offered for adults.

Horses, wolves, birds, and other animals are featured in these paintings and drawings for the aesthetic value and emotional impact that they inspire in this artist and longtime ACP instructor. The public is invited to join us for the exhibition opening, enjoy the exhibition, and register for the accompanying studio class.

[caption id="attachment_23677" align="aligncenter" width="492"] Fox Hunt : Duck
20 x 20 inches
Acrylic[/caption]

Saturday, May 25

Cafe Improv: Community Stage Event

- $1 ACP Members; $2 General Admission

For the past 25 years, Café Improv has connected beginning and professional performers in the ACP’s Solley Theater. Attendees can expect an evening of exciting local music, poetry, comedy, and more. Café Improv is easily accessible to the public through affordable admission rates and televised broadcasts on Princeton Community Television. Click here to learn more and/or register to play!

This performance is part of the Arts Council of Princeton’s Community Stage Series. Community Stage productions are free (and nearly free) held in collaboration with local artistic groups and organizations. Community Stage programming enable the Arts Council’s Solley Theater to act as an accessible space for community partnerships and high-quality artistic experiences.

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

WILD: Wildlife Paintings and Drawings

The Arts Council of Princeton of Princeton is pleased to present an exhibition of wildlife related artworks by Charles David Viera in support of the Wildlife Painting and Drawing class offered for adults.

Horses, wolves, birds, and other animals are featured in these paintings and drawings for the aesthetic value and emotional impact that they inspire in this artist and longtime ACP instructor. The public is invited to join us for the exhibition opening, enjoy the exhibition, and register for the accompanying studio class.

[caption id="attachment_23677" align="aligncenter" width="492"] Fox Hunt : Duck
20 x 20 inches
Acrylic[/caption]

Sunday, May 26

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

WILD: Wildlife Paintings and Drawings

The Arts Council of Princeton of Princeton is pleased to present an exhibition of wildlife related artworks by Charles David Viera in support of the Wildlife Painting and Drawing class offered for adults.

Horses, wolves, birds, and other animals are featured in these paintings and drawings for the aesthetic value and emotional impact that they inspire in this artist and longtime ACP instructor. The public is invited to join us for the exhibition opening, enjoy the exhibition, and register for the accompanying studio class.

[caption id="attachment_23677" align="aligncenter" width="492"] Fox Hunt : Duck
20 x 20 inches
Acrylic[/caption]

Monday, May 27

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

WILD: Wildlife Paintings and Drawings

The Arts Council of Princeton of Princeton is pleased to present an exhibition of wildlife related artworks by Charles David Viera in support of the Wildlife Painting and Drawing class offered for adults.

Horses, wolves, birds, and other animals are featured in these paintings and drawings for the aesthetic value and emotional impact that they inspire in this artist and longtime ACP instructor. The public is invited to join us for the exhibition opening, enjoy the exhibition, and register for the accompanying studio class.

[caption id="attachment_23677" align="aligncenter" width="492"] Fox Hunt : Duck
20 x 20 inches
Acrylic[/caption]

Tuesday, May 28

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

WILD: Wildlife Paintings and Drawings

The Arts Council of Princeton of Princeton is pleased to present an exhibition of wildlife related artworks by Charles David Viera in support of the Wildlife Painting and Drawing class offered for adults.

Horses, wolves, birds, and other animals are featured in these paintings and drawings for the aesthetic value and emotional impact that they inspire in this artist and longtime ACP instructor. The public is invited to join us for the exhibition opening, enjoy the exhibition, and register for the accompanying studio class.

[caption id="attachment_23677" align="aligncenter" width="492"] Fox Hunt : Duck
20 x 20 inches
Acrylic[/caption]

Wednesday, May 29

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

WILD: Wildlife Paintings and Drawings

The Arts Council of Princeton of Princeton is pleased to present an exhibition of wildlife related artworks by Charles David Viera in support of the Wildlife Painting and Drawing class offered for adults.

Horses, wolves, birds, and other animals are featured in these paintings and drawings for the aesthetic value and emotional impact that they inspire in this artist and longtime ACP instructor. The public is invited to join us for the exhibition opening, enjoy the exhibition, and register for the accompanying studio class.

[caption id="attachment_23677" align="aligncenter" width="492"] Fox Hunt : Duck
20 x 20 inches
Acrylic[/caption]