Press

The Metrowest Daily News

At the Danforth: Artist Ilana Manolson mapping out her work

Published November 18, 2012 by Chris Bergeron, Daily News Staff
Herman Melville, who chased real and imaginary whales, once said, “True places are never’’ found on any map. That might help explain Ilana Manolson’s fragmented chart composed of scraps of old maps and plaster, clumps of earth and ivy roots that covers two gallery walls in the Danforth Museum and School of Art. Read more...

artscope: new england's culture magazine

Ilana Manolson: Channeling Thoreau

Published September 1, 2010 by J. Fatima Martins
Approaching Manolson’s abstracted landscape paintings is a sensual experience — you’ll feel an immediate rush of attraction to and comfortable recognition of overlapping details mimicking rich organic life. Her style is quickly assessed — a blend of impressionistic color tones and gestural expressionism pulled together, evoking obvious themes. There are seasons in transition, vegetation at various levels of growth and decay, and the alternate movement of water and light exposing and concealing views within a swampy forest canopy — comfortable subject matter lulling you into a pleasant state of mind. Read more...

Susan and Kurt

Hot Color, Cool Observations

Published June 7, 2009
Ilana Manolson's recent show at Jason McCoy surprised me. At first glance I was prepared to dislike it, the super heated color and oily feel of the paint put me off. But the more I looked the more I was drawn in. Read more...

ArtSake - Mass Cultural Council

Ilana Manolson paints the landscape

Published May 15, 2009
Ilana Manolson (MCC Painting Fellow ‘08) took a few moments to talk with ArtSake about her work and life. Read more...

The Metrowest Daily News

Earthly Pleasures: Painter Ilana Manolson captures nature's ephemeral beauty

Published March 30, 2006 by Chris Bergeron
Taking a "frog's eye view," Ilana Manolson's paintings capture nature's fecund profusion in a small patch of her back yard. The Concord artist mixes rich radiant colors to observe the ephemeral beauty of a clump of skunk cabbage or sunlight reflected of a weedy pond. Manolson's recent paintings meld her earlier career as a botanist with an Impressionist's infatuation with the play of light on nature. Read more...

Art New England

Beyond the Categories: A Paint/Print Dialogue

Published February 4, 2006 by Meredith Fife Day
When curator Ilana Manolson talks about this show, she refers as often to the "dance" between painting and printmaking as she does to the dialogue. The distinction between the two, and the inclusion of both, gives unity as well as enormous range to the work of the six artists exhibited. Manolson's own work as both a painter and printmaker gives a pronounced sensitivity to the excitement of process, this exhibit's ascendant theme. Read more...

The Boston Globe

A Meeting of Mediums

Published October 21, 2005 by Cate McQuaid, Globe Correspondant
Ilana Manolson, better known as a printmaker, is showing her paintings at Clark Gallery - and they reveal a printmaker's touch. Painters build light by layering colors; printmakers let the light shine by leaving their plates bare and letting the paper show through. Manolson uses both techniques. In taking a frog's-eye view of pond life, putting us amid the reeds and water, she uses her paint the way she might use ink in a monotype, ranging from watery washed to more opaque, cleanly articulated forms. Read more...

The Concord Journal

Artist finds inspiration in Concord's Macone's Pond

Published March 6, 2003
Ilana Manolson, a nationally recognized artist who lives and works in Concord, is having three shows in March. Two shows in Lincoln and Concord contain a Series of paintings she has made standing in the same spot at Macone's Pond in Concord, observing the water's edge in different seasons, different lights and different weather conditions. She says, "By staying in the same spot day after day, I find I get to see the surprises and the changes. I see the ups and down of pond life from a frog's eye view." Read more...

The Boston Globe

Art Review: Beauty of these artworks printed dearly

Published March 2, 2001 by Cate McQuaid, Globe Staff
There are pictures from the 1980s on view in a side gallery, but the main event is the contemporary work put together for the portfolio. Manolson's "Putting Down Roots," an Ink Jet print and monotype, shows a cluster of plants and stones with roots spraying beneath them, embossed from the ink-stained roots themselves. Read more...

The Boston Globe

Perspectives

Published February 16, 2000 by Christine Temin, Globe Staff
What unites the solo shows two Boston artists at Clark Gallery - monoprints and paintings by Ilana Manolson and glazed stoneware vessels by Bruce Barry - is their shared organic quality. Manolson, who uses everyday objects to express emotional states, and whose exploding house series of many years ago suggested a world of disorder, here focuses on a simple flower bulb. Her world, the image suggests, has calmed down. Read more...

Art New England

Randall Beck Gallery / Boston. Ilana Manolson: The Unstill Life

Published August 1, 1996 by Susan Maluski
Usually inanimate objects ascend, soar, rotate, and gyrate in Ilana Manolson's The Unstill Life, this accomplished artists fifth one-person show at the Randall Beck Gallery. In this likable exhibition, Manolson uses ordinary kitchen objects to show the motion and emotion of everyday life. The artist explains, "I try to capture the fragile balance of competing demands, as stacked plates or bowls strain to avoid falling." This kinetic crockery, with its connotation of home and hearth, captures the imbalance, upheaval, and strain of the domestic realm. Read more...

The Boston Globe

Dancing Dishes; rocking horse winners; affable animals

Published April 25, 1996 by Cate McQuaid, Globe Correspondant
"Unstill Life," Ilana Manolson's show of monoprints at the Randall Beck Gallery, could alternately be titled "The Secret Life of Bowls." These prints, swirling with light and breathtaking color, take the domestic subject of many still lifes and set it spinning. The artist suggests in her statement that her works address the chaos of real life that belies the fragile order of a well-stocked china cabinet, but the sheer beauty of her images brings them head and shoulders above any frank discussion of disorder in the realm of magic. Read more...

The Boston Globe

‘Nine Months’: Motherhood as Muse

Published July 21, 1994 by Nancy Stapen
Boston artist Ilana Manolson created visual “diaries” during and immediately after her two pregnancies. She represents each day with a small plastic bag filled or adorned with symbolic objects and text. Displayed in a grid, these “excerpts” range from stones arranged like a fertility goddess (apparently not too sublime for Manolson; it’s accompanied by the text: “That awkward stage. No one knows I’m pregnant and my breasts are already twice the size.”), to crossed red and purple gloves each holding an egg, marked with the words “delicate juggle.” All harried new mothers, as well as some new dads, will identify with such postpartum highs of self care as Manolson’s drawing of a shower faucet with the words “It’s a great day – got to dental floss, shower and cut my nails.” Read more...

The Boston Globe

New Angles on Geometry

Published March 25, 1993
In her show of oil paintings and monotypes at the Randall Beck Gallery, Ilana Manolson continues her explorations of geometric forms in space. Previous works depicted cubes and spheres exploding into asymmetrical forms, suggesting degeneration and chaos. This series is more optimistic; the forms seem less driven by frenetic, out-of-control impulses, more in tune with nature's harmony. Read more...

The Boston Globe

New Angles on Geometry

Published May 9, 1991 by Nancy Stapen
In Ilana Manolson's oil paintings, geometric units, which usually symbolize stability, are erupted and imploded. Order, or the lack of it, is the subject here; the word crops up repeatedly in titles such as “Order on the Rebound I”, “Out of Order," etc. Spheres pop out of cubes like crazed jack-in-the-boxes; brushy swirls of paint rushing in and around these forms suggest wind, fire and floods. The palette is a combative mix of fiery yellows and reds and acid greens, underscoring the hyperactive ambience. This is dearly a world where the center no longer holds. Read more...

The Boston Globe

Exhibits: Changing Worlds

Published April 25, 1991 by Christine Temin
Ilana Manolson's art has an unsettled quality: in the past, one of her main subjects has been boxes---captured mid-explosion suggesting the end of a little world. Along with the sense of unease, though, there has been lusciousness to her work, thanks to her handling of paint, pastel and paper, She revels in their tactile qualities, creating a sense of joy akin to that in a child’s finger painting. Manolson's new show offers cubes, pyramids and spheres in stacks that are about to keel over. It's an abstract reflection, the artist says, of the flux and change of her own life. Read more...

The Boston Globe

Perspectives

Published November 1, 1988 by Christine Temin, Globe Staff
Teasing contradictions about space lurk in liana Manolson's big pastel/collage pieces, at the Randall Beck Gallery, 168 Newbury St-., through October 15. Manolson presents fractured architecture in these new works that are larger and less coy than her earlier ones. She once did charming little paper pieces that depicted exploding boxes; now she's more interested in stairwells, and her work is the more powerful for the shift in scale. She's now capable of creating swirling, hallucinatory spaces, filled with flying staircases that go unanchored to floors: To climb these stairs is to walk the plank. Read more...

Newport Art Museum

Interior Space: The 76th American Annual Exhibition

Published October 1, 1988
Manolson and Judelson took the spotlight with an exhibition signature piece entitled Both Sides. The artists combined their talents to create a flattened, quirky environment – a European alleyway building – through a series of hinged panels on which the interior and exterior scenes are painted. The piece invites you to explore it inside and out, and from certain vantage points you can look from the outside in to see a series of rooms through a window. Read more...