Celebrate the legacy of Carl Plansky, founder of Williamsburg Handmade Oil Colors, as both artist and paintmaker. Carl's work will be displayed along with some of his artist friends: Milton Resnick, Pat Passlof, Jake Berthot, Susanna Coffey, Cora Cohen, Bill Jensen, Margrit Lewczuk, Judith Linhares and Mary Jo Vath.
There will be an opening reception Saturday, September 25, from 3-6pm. Please RSVP if you plan to attend the reception.
Complete directions and gallery hours can be found online at theSAGG.org
2000 Marshmallow Sofa, Herman Miller for the Home/Nelson Office
Good Design: Stories from Herman Miller August 14 - October 17, 2010
2000 Marshmallow Sofa, Herman Miller for the Home/Nelson Office This exhibition explores the collaborative design process employed at Herman Miller, the world-renowned furniture company that has used design to solve problems for the home and workplace for almost ninety years. Good Design showcases archival holdings of concept models, drawings, supplementary photographs and completed masterworks of design in furniture and decorative art produced by Herman Miller, Inc. Works by Gilbert Rohde, Ray and Charles Eames, George Nelson, Alexander Girard, Robert Probst, Bill Stumpf, Don Chadwick, Ayse Birdsel, and other well known designers are featured.
Public tours are available on Saturdays at 2.00pm. These tours are complimentary with exhibition admission, and no reservation is required.
The exhibition was organized and is circulated by the Muskegon Museum of Art in association with The Henry Ford, Dearborn, Michigan.
This exhibition is presented in conjunction with the Syracuse Center of Excellence and is made possible in part by Sedgwick Business Interiors. Media Sponsorship provided by Sunny 102 FM and CBS 5 WTVH
Admission: Everson Members and children under 5 are admitted free. $10 non-members, $8 children under 18, students (w/ college ID), Military (w/ ID), and seniors (65+). A special family rate is available for $30 (including 2 adults and 4 dependent children). Group tours are available at a special rate of $8 per person, must be booked in advance. K-12 school tours will be offered at no charge, must be booked in advance through the Education Department. Tickets may be purchased in advance at everson.org, or during the exhibition at the Everson Ticket Desk
Central Square couple displays similar, different works at Edgewood Gallery Published: Sunday, July 18, 2010, 5:10 AM Katherine Rushworth
*Show Runs through September 10.
Husband and wife artists K.V. and Debe Abbott share a visual aesthetic like some couples share life. Their mixed-media works share a common energy and expressiveness that, at times, make it difficult to discern one artist's pieces from the other. While Debe's palette leans to the brighter tones, Kevin's exudes a more subdued tonality, but even that isn't a constant.
Through Sept 10, visitors to the Edgewood Gallery on Tecumseh Road can take in a 25-year survey of works by this enterprising couple. The Abbotts are the owners of Abbott's Lake Country Studio, a custom framing workshop and art studio located in the heart of Central Square, but they are also actively creating their own work, as this show demonstrates. (In addition to works by the Abbotts, there's also a small assortment of high-fired stoneware vessels by Brian Brickley on view.)
Besides color, another distinguishing feature between the couple's styles is their sense of gesture, or the weight of the marks they make. Generally, Debe's pieces are more detailed, employing smaller strokes of color while Kevin typically works in broader visual phrases. Both artists work with collage elements, although Debe has a far lighter hand in what she uses and how she applies it.
You see Kevin's use of collage most clearly in a set of works incorporating old photographs into thickly textured mixed-media surfaces. These pieces -- "Party Girls," "Brothers," "October's Children," "Sister," -- have dark, richly toned and layered surfaces into which Kevin situates an old portrait photograph. This is not a new idea and unfortunately, this execution does little to further it.
The photos sit atop these textured surfaces like postage stamps stuck to an envelope -- obvious and too deliberate in their placement. The idea would have been far more effective had Kevin prepared or treated the photos in some way. A soft white wash, a piece of finely meshed painted fabric or metal placed atop the photographs would have softened the effect of these images.
They would emerge from the piece like the faded memories he suggests they are, with a whisper instead of a shout. There are other pieces, however, which demonstrate a solid ability to move paint around a surface, create lush textures and engage a diverse palette of colors.
Debe is best known as a traditional landscape painter, but the pieces in this show are decidedly non-representational. Having said that, it's easy to find elements of the landscape in many of her works. "Desert Dawn" and "Back to Huachuca," while restrained in detail, capture the softly lilting nature of the desert's terrain.
Her palette is a rich coppery brown to which she adds collaged pieces of corrugated paper or metal, energizing the picture plane.
Texture is also a critical element in Debe's work, which she achieves through the application of thick daubs and swathes of paint, or collaging meshed fabrics or other textured materials on to her base surface. Sometimes she works back into the painted surface, as in "Festival," cutting geometric patterns into the paint revealing substrata of colors.
Seeing this show of the Abbotts' works makes me wonder if they share a common studio space. Their pieces seem to flow from one to another, with varying differences in color and texture, like slightly different inflections in two well-acquainted voices.
Katherine Rushworth, of Cazenovia, is a former director of the Michael C. Rockefeller Arts Center (State University College at Fredonia) and of the Central New York Institute for the Arts in Education. Reach her at firstname.lastname@example.org.
Chris is a past "Guest Artist" here at Timeforfrida. He is having a show in August and sent the following.
Good Luck Chris!
You are invited to attend the "Intervals" art show featuring the new work of Chris Spuglio. This exhibition is a continuation of Chris's texture series shown last year. The series has streamlined itself into one cohesive body of work. It has been critiqued by New York art professionals as a wonderful mix of realism and impressionism on the subject of surface versus time.
Hosting the show is the Beebe Estate Mansion in Melrose. The Beebe Estate is the finest Greek Revival-style mansion in Melrose. Its elegant cupola and elaborate balustrade have graced West Foster Street for more than one hundred and seventy years. A true gem to the community that hosts visual and music performances each month.
"Intervals" Opening Reception August 6th 7P.M.-9P.M. The Beebe Estate Mansion 235 West Foster Street, Melrose, MA
Fit to Be Bound - The Edge of Art: New York State Artists Series April 17 - July 11, 2010
In 2010, the Everson Museum of Art introduced The Edge of Art: New York State Artists Series as an alternative to the traditional Biennial Exhibition. Fit to Be Bound, the second exhibition in a series of four showcases a broad range of artist books created by artists currently living in New York State-the first survey of its kind at the Everson. The exhibition is an exploration of the various means by which contemporary artists have expanded the notion of the book form, from the traditional to the sculptural, from paper to mixed-media, small-scale and oversized. Thirty-four artists from 12 counties are included in the exhibition.
Four artists whose work broadens the definition of artist book were invited to participate in the exhibition. Miriam Schaer is a multimedia book artist. Tatana Kellner is a photographer, printmaker and artists' book maker. Claire Maziarczyk creates decorative papers known as pastepaper patterns. Drew Goerlitz is a sculptor currently teaching at the State University at Plattsburgh.
Thirty additional artists were selected by three jurors: Everson Senior Curator Debora Ryan, Peter Verheyen, Head of Preservation and Conservation at Syracuse University Library; Hannah Frieser, director of Light Work at Syracuse University. The books are intelligent, creative, whimsical, and unique. The artists have employed a diverse range of paper and mixed-media to present books of all forms and sizes that pose intriguing questions for viewers to consider, such as, what is a book?
Fit to Be Bound is made possible by the New York State Council on the Arts, a state agency, and The Gladys Krieble Delmas Foundation.
Image: Miriam Schaer, Of The Errors of My Heart Too Numerous to Count, 2008, Girdle, silk, acrylic, pins, silk, found objects, 28 x 15 x 10 in. Photo: Miriam Schaer.
The great thing about all the snow and cold we have had this winter is that we have spent more time in the studio. This is my most recent painting. A mixed media on rag board titled "Fault Line". The painting measures 16" X 20" (image) and is available for purchase. $500.00 contact me for more information email@example.com
ARTIST TALK: 18 February, 2010, 6:00 P.M. (Th3), The Warehouse Gallery Lynette Stephenson will give a talk about her installation at The Warehouse Gallery. All events at The Warehouse Gallery are free and open to the public.
Location: The Warehouse Gallery, Ground Floor
350 West Fayette Street, Syracuse, N.Y. 13202
ABOUT THE EXHIBITION: This exhibition is inspired by John Kennedy Toole's novel A Confederacy of Dunces (1980) set in New Orleans, where Stephenson's family home was destroyed by Hurricane Katrina, and based on her previous body of paintings, TheRed Cross Series, which led to the idea for this site-specific project. In this work Stephenson engages in a dialogue about present-day social issues referring to New Orleans, the tragedy of the Hurricane and the universal symbol of the Red Cross.
Historically seen as an iconic symbol of safety and comfort, the Red Cross emblem has morphed into ambiguous uncertainty after the corruption and inadequate care provided by the organization in regard to events following Hurricane Katrina. It now teeters between positive connotations of its distant past and negative emotions entwined in the organization's more recent actions. The placement of such a universal symbol on numerous dunce caps could be construed as an attempt to criticize the recent exploits of the Red Cross through this slightly satirical display.
For more information, visit http://thewarehousegallery.syr.edu.
ABOUT THE ARTIST: Born in Seymour, IN, painter and sculptor, Stephenson lives and works in Hamilton, N.Y., where she is an associate professor of painting at Colgate University. Stephenson has exhibited numerous times in Central New York at institutions such as, the Everson Museum of Art in Syracuse, Schweinfurth Memorial Art Center in Auburn, and Munson Williams Proctor Arts Institute in Utica. Stephenson's work is included in such collections as the Smith Robertson Museum in Jackson, Miss., and the Southwestern Bell Corporate Collection in San Antonio, Texas. Stephenson holds a M.F.A. from Georgia State University.
Tim Scott - The Sixties: When Colour was Sculpture Through April 11, 2010 The Everson presents the monumental steel sculptures of British artist Tim Scott along with recent ceramic sculptures from his House of Clay series. The large-scale sculptures made of painted steel and acrylic sheeting were created in the late 1960s, a time when painters and sculptors alike celebrated color as form and subject.
Because of their dramatic scale, which require large spaces to be viewed properly, these pieces have not been displayed for decades. The Everson is proud to host this exhibition in the I.M. Pei galleries, which provide a stunning space to view Scott's work. This experience is rare, and cannot be duplicated!
The show/exhibtion calender for 2010 is filling up fast. Deb and I have a full slate for spring already so I am going through and cataloging some of my older work that I have never digitally captured.
This very expressionistic painting "Angels and Such" is just such a piece. I have always liked this painting. I did this back in the 90's and have only shown it outside our own gallery a couple of times. I expect to bring it out for one of the upcomming shows and thought now is the time to take the glass off and clean it up. Might as well digitally record while the glass is off.
Although these images are more representational than most of the work we post here, there is an expressive quality to them. The viewer can sense the manner that she moves the pen on the paper. A physical act. An expressive act.
In her words - Colleeen Blackard
"My art is meant to share my experience of the infinite nature of the universe. I use the unique language of intertwining ballpoint pen circles and infinity signs to shape light with darkness. My hand moves intuitively when applying marks, but I keep my eyes open to forms I wish to convey. Through this process, I create an active relationship between the infinitely small world of intimate details, the infinitely large world of distant forms, and you, the viewer."
To learn more about Colleen visit her website or follow the link on her image in the sidebar.