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Founded in 1912, the Newport Art Museum is one of the oldest continuously operating and most highly regarded art museums and schools of its kind in the country.
The Newport Art Museum’s collection consists of approximately 3,000 works of art in a range of media including works on paper (prints, drawings, watercolors, and photographs), paintings, sculptures, decorative arts, installation works, and textiles and is expanding to include new media. Concentrated on American art and contemporary art, the Museum’s collection includes works of art from the 18th century to present.
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By supporting the Newport Art Museum Annual Fund at any level, you help make a positive difference in the lives of many. Our exhibitions, public programs, education, and community outreach, which includes a diversity of artistic voices, would not be possible without you. Help the Newport Art Museum continue to spark reflection, inspiration, discovery and build lasting connections by making your tax-deductible contribution today. We thank you for believing in the transformative power of art and allowing us to make art accessible to all for generations to come. Help the Newport Art Museum continue to spark reflection, inspiration, discovery, and build connections by making your tax-deductible contribution TODAY!
Are you a business owner who is looking for new ways to engage and connect with local Newport customers on a year round basis? We have the perfect opportunity. Sponsor a Newport tradition - The Newport Art Museum - Make NAM part of your marketing plan in 2025. We have an array of events and exhibits to offer you. Our first exciting event is the 2025 Winter Speaker Series in its 97th Year.
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LANDSCAPE, 2019, Acrylic medium, acrylic pigment, wood burning, Courtesy of the Artist.
Visit Erica Licea-Kane’s website Instagram: @licea-kane
My name is Erica Licea-Kane and the works that I am exhibiting in the Newport Biennial are: Just Under the Surface and Landscape. Both of these works are from a series that I created, where I worked with the iconic design structure of half-spaces or checker boarding in ways that are seen or unseen.
I build the surfaces of these pieces with many layers of extruded, pigmented, acrylic medium that resemble different yarns. The works in the Biennial have shaped edges that I create with small rectangles of balsa wood that I adhere and cover the initial surface with, allowing some of the wood to extend beyond and shape the canvas. To this balsa surface I burn patterns into the wood, and then proceed to layer with the extruded medium.
These works invite viewers to pause and closely explore the built surfaces. The layers and color interactions are often embedded, and almost hidden, but yet, help to support the overall imagery with glimmers of underlife. Each layer informs the next as I emphasize and connect shapes, reinforced by formal design relationships that fully define the work. Often the layers are only evident at the edges of the work as they take on a life of their own, and with the shaping and density of the surface, become object-like. My work often references topographical views of landscapes and cityscapes, and ultimately become emotional-scapes.
My textile background and training, greatly informs my studio practice with repeats, underlying grids, color mixing, a time intensive approach, and my cognizance of mixing media in a well “crafted” way. My process is slow, intimate and thorough.