{"id":21403,"date":"2025-07-09T12:17:52","date_gmt":"2025-07-09T16:17:52","guid":{"rendered":"https:\/\/www.bates.edu\/museum\/?page_id=21403"},"modified":"2025-10-24T13:42:05","modified_gmt":"2025-10-24T17:42:05","slug":"shellburne-thurber-full-circle","status":"publish","type":"page","link":"https:\/\/www.bates.edu\/museum\/shellburne-thurber-full-circle\/","title":{"rendered":"Shellburne Thurber: Full Circle"},"content":{"rendered":"\n
\"A<\/span>
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Shellburne Thurber:
Full Circle<\/h2>\n<\/div><\/div>\n\n\n\n

October 24, 2025 – March 21, 2026<\/h3>\n\n\n\n
<\/div>\n\n\n\n

For much of her career, Shellburne Thurber has been engaged in an ongoing photographic investigation of the relationship between constructed space and human energy. Long intrigued by the idea of lived space as an extension of the body and a site for projection, she has photographed a wide variety of subjects. Early on, she turned her camera to family and friends and their homes, and she has since created projects around images of generic back road motels, churches, abandoned and derelict homes and hospitals, and historic sites. She is especially interested in spaces that straddle the line between public and private. <\/p>\n\n\n\n

The images in Full Circle<\/em> represent the range of Thurber\u2019s focus on interior work that is private, domestic, psychological, or insular. She has been engaged with these aspects of space and site over the course of her career\u2013beginning with early photographs in the 1970s of her grandmother\u2019s home in southern Indiana to one of her more recent bodies of work photographing psychoanalytic offices, which was published into a book in 2023 by Kehrer Verlag. Thurber considers her interior work an extension of the portraits of those close to her that she began making early in her career and continues to pursue to the present day.<\/p>\n\n\n\n

Conceived with Bates Museum of Art, Full Circle<\/em> is a focused retrospective containing threads that are present throughout many of Thurber\u2019s projects spanning from the 1970s to today. This exhibition centers the artist\u2019s eye in crafting images of resonating interiors imbued with individuals\u2019 past lives through details like light shining through windows and doors, mirrors and electrical features, chairs, beds, bookshelves, and decor. Each photograph invites us into a discarded monument for everyday lives carried out in the passage of time at these exact sites: secrets, emotions, and interactions by anonymous people or known intimately to the artist. In returning to these themes at various times through the artist\u2019s life, Thurber comes full circle to her material, representing also a fullness of both her own circle of relationships and connections as well as others that remain unknown often behind closed doors. This exhibition\u2013a collaboration between artist Shellburne Thurber and Bates curator Samantha Sigmon\u2013presents unique selections of works for Bates College.<\/p>\n\n\n\n

Thurber graduated from the School of the Museum of Fine Arts, Boston and Tufts University. She has shown widely both in the United States and abroad and her work is in several collections, including the Massachusetts-based Museum of Fine Arts Boston, the Addison Gallery of American Art in Andover, the Worcester Art Museum, the ICA Boston, and the Decordova Museum and Sculpture Park in Lincoln. She has taught extensively throughout New England, most recently as visiting professor of photography at the Massachusetts College of Art and Design. She has also undertaken commissioned projects such as the renovation of the Boston Athen\u00e6um and the Saint-Gaudens National Historic Site. Thurber has been the recipient of several awards including a fellowship from the Radcliffe Institute for Advanced Study at Harvard University and an Anonymous Was a Woman grant.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Cover Image: Shellburne Thurber, Self Portrait Sitting on the Porch in New Hampshire<\/em>, 1994, archival pigment print, 20 x 20 in., courtesy of the artist.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Bibliography<\/a><\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Black<\/a>
Phantom Limb: My Dresser Top at Night<\/em>, from Phantom Limb<\/em>, 2017-2019, archival pigment print, 20 x 20 in., courtesy of the artist. 
<\/figcaption><\/figure>\n\n\n\n
\"Art<\/a>
 9 Wellington Street: First Floor Library with Orange Chair and View of the Livingroom,<\/em> from 9 Wellington<\/em>, 2004-2009, archival pigment print, 40 x 40 in., courtesy of the artist.
<\/figcaption><\/figure>\n\n\n\n
\"Shellburne<\/a>
Beechwood: Blue Bedroom with Graffiti and Damaged Wall<\/em>, from Abandoned<\/em>, 1998, chromogenic print, 40 x 50 inches, museum purchase with the Robert A. and Minna F. Johnson Art Acquisition Fund, 1999.27.1<\/figcaption><\/figure>\n\n\n\n
\"Shellburne<\/a>
Newtonville, MA: Blue Couch with Multiple Portraits of Freud, from Analytic, 2000, chromogenic print, 20 x 20 in., courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n
\"Art<\/a>
Belmont, MA: Attic Office with Red Patient’s Chair and Ship’s Clock, VI,<\/em>   from Analytic<\/em>, 2000, archival pigment print, 20 x 20 in., courtesy of the artist. <\/figcaption><\/figure>\n\n\n\n
\"Black<\/a>
Edinburgh, IN: My Grandmother’s Portrait with Matching Chairs and Footstools,<\/em> 1976, archival pigment print, 20 x 20 in., courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n
\"A<\/a>
Matt Sitting in the Tree in his Spiderman Suit, <\/em>1977, archival pigment print, 20 x 20 in., courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n
\"An<\/a>
Aunt Anna Sitting in Her Study<\/em>, archival pigment print, 1978, 20 x 20 in., courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n
\"Dimly<\/a>
Dozier House: Kitchen Sink with Dixie Cup Dispenser<\/em>, from Abandoned<\/em>, 1998, chromogenic print, courtesy of the artist.<\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

October 24, 2025 – March 21, 2026 For much of her career,…<\/p>\n","protected":false},"author":1626,"featured_media":12524,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_hide_ai_chatbot":false,"_ai_chatbot_style":"","associated_faculty":[],"_Page_Specific_Css":"","_bates_restrict_mod":false,"_dimp_site_id":"","_dimp_override_contact":false,"_table_of_contents_display":false,"_table_of_contents_location":"","_table_of_contents_disableSticky":false,"_is_featured":false,"footnotes":"","_bates_seo_meta_description":"","_bates_seo_block_robots":false,"_bates_seo_sharing_image_id":0,"_bates_seo_sharing_image_twitter_id":0,"_bates_seo_share_title":"","_bates_seo_canonical_overwrite":"","_bates_seo_twitter_template":"","_links_to":"","_links_to_target":""},"class_list":["post-21403","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages\/21403","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/users\/1626"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/comments?post=21403"}],"version-history":[{"count":16,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages\/21403\/revisions"}],"predecessor-version":[{"id":21676,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/pages\/21403\/revisions\/21676"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/media\/12524"}],"wp:attachment":[{"href":"https:\/\/www.bates.edu\/museum\/wp-json\/wp\/v2\/media?parent=21403"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}