Thursday, December 1, 2011
Sunday, November 13, 2011
Thursday, October 13, 2011
Sara Jane Roszak with Bruce Gagnier, Gillian Jagger, Jen P. Harris, Margaret Carlon, Linda Mussmann, and Osamu Kobayashi
Friday, September 23, 2011
John Davis began showing the work of La Wilson in 1983 in Akron, Ohio and continued with Ms. Wilson when his gallery moved to New York City. Including the 2004 retrospective that Mr. Davis curated, La Wilson Altered Objects (at the Philip and Muriel Berman Museum of Art, Ursinus College), this upcoming show will be the 13th exhibition of Ms. Wilson's work that the artist and dealer have presented together. It will also mark Ms. Wilson's sixth exhibition in Hudson, New York, (the first, having been recognized and reviewed in The New York Times). She visits Hudson, New York from Hudson, Ohio where she lives and works and she has shown extensively in the mid-west and New York City.
"Containment, concealment, and privacy have been recurring themes in my work. My interpretation of reliquary is not to hold a sacred object or relic, but to engage the viewer with the form and tension of the unknown interior. The adornment of these objects relates to architectural details and the idea of facade. Facade is what we are presented with upon first appearance, whether speaking of people or architecture, and it isn't until we look inside that we discover the true structure.
This body of work developed from a series I began while in residence in Switzerland. During my time spent there I was drawn to the architecture and also to Swiss social and political ideals. All of these observations have found their way into this series of sculpture. The Reliquary series is a new body of work that has many influences both reoccurring and new. During my stay in Switzerland I had limited time, which had me adjust my process in the studio. It forced me to adopt a very candid approach, and react to the sculpture during the process of making. The continuation of the series over the last year has seen an increase in scale and a subtle refinement in the elements of composition. Being back in my studio has afforded me more time to reflect on the form and content of these larger sculptures."
"I became aware of the reflection of my body in a tree in 1983. It had a tilt in its torso just like mine. In time and scale it differed. But I felt deeply connected. Because the tree was very large and relatively still I could read it by a long, long stare. Because it had occurred again and again in similar form through these centuries and appears just now in my back field I can count on the fact of its existence.
This installation came about from the combination of seeing John Davis' amazing horse/carriage elevator shaft and a wondrous enormous hunk of a tree that I have kept for 5 years. By hanging the 15 ft tree between three floors, it can be seen by looking up, and, it will be seen from three levels if one climbs the stairs to the floors above. I have cut the tree vertically into five parts. These strips are similar to the basic segmented construction of all trees which can be seen most clearly when they are in early growth, or when struck by lightning, or in late decay. This tree was in none of those states when it was taken down in full health. It was too tall. It threatened a house. It was cut down. The five vertical parts I have hung slightly apart . I want to see inside this tree. I want it to be transparent to me, despite its solidity. I want to experience the precariousness of its existence as I experience its absolute undefeatability. I want to know it is itself."
"Drawing for me has always been the place I go to, to begin again. I am not conditioned by the piece I have just completed. I am not controlled by my latest angle of vision. The drawing experience is the one place where I feel close to complete freedom in my life. When drawing we can redefine where we put our gaze. Each one of us are lighthouses of a sort lighting up different areas in the dark. When we are students in art school and seen as changing our vision month to month, we are often seen as being unfocused. But looking back I also see that change has always been the main measure of the breadth of our creativity and flexibility. Lately my own drawings took me to a more vulnerable personal place than I was used too. I went there because, when drawing, I could clearly feel the necessity of doing it that particular way despite the conditioning of what could be a disapproving art world that surrounds us all. A world that right now does not think much of vulnerability. I guess drawing is a place where we can redefine ourselves over and over again."
Lewczuk's drawings offer a glimpse into how the paintings are made. Her colors are vibrant and pulsating, ranging from florescent greens to striking blues, luscious hot reds and fuchsia's with a sprinkle of rich earthly tones. Her travels to exotic lands such as Timbuktu, Bamako, Tunisia, Mexico, Mali & Dogon in West Africa influence the rhythms, colors and mark making in her drawings and paintings. The surroundings of rich textiles, pottery, ruins, ancient carvings all seep into the work; her tribal motifs are painted freehand onto large white linens in lush colors resulting in geometric patterns that twist and bend the planes of space. Roberta Smith says, "Her interlacing, overlapping forms, for the most part organized in grids and other quadrilateral arrangements, balance with distinctive awkwardness between organic and geometric, their boisterous scale held in check by taut layering. The resulting flatness is nearly concave; the shapes seem carved, or maybe nailed down, like abstract animal skins. The resulting tension has a pulsating energy that is visionary..."
Margrit Lewczuk, 2011
New Hesitation Blues
"I got my hesitation feet in my hesitation shoes,Believe to my soul I got the Hesitation Blues.
This exhibition is an attempt to address some of the more obscured aspects of my studio over the past several years (and on to the present day). It was, and is, obscurity born of circumstance, a place where necessity and imagination played themselves out into something beyond my control. Most of the paintings did start out with a prevailing idea, or ideal, which quickly dissolved before my eyes and lead to the works you now see.
The aim is not to make any single statement, or to fit the work into neatly defined genres or categories. Many traditions were followed, some going back hundreds of years, while others were conjured in a moment's notice. It's all mashed together: landscape and figuration next to pattern and shape, mysterious invocations next to alphabetic text. Through it all, though, is the desire to follow where the work leads me. And so I'm left asking, like the voice of old Sam Collins crackling through the atmosphere:
Tell me, how long do I have to wait?
Can I get you now, or must I hesitate?"
Craig Olson, 2011
"I grew up on a small farm in the Midwest. There is a quiet tempo there that fundamentally shapes how I understand life. This is where my mind's eye lingers when I begin to paint, when I take a piece of the known world and follow it into uncertainty.Liv Aanrud, 2011
A form emerges underneath the painted surface in a tug of war where size often yields to intent. I like modest might, self conscious usurpations, when a painting captures the moment right before authority is asserted. In these curious events I search for something familiar, and sincere, diffident but determined. These are pictures of the natural, or rather, how the natural might be created."
Friday, August 19, 2011
Peter McCaffrey, with Ben Butler, Susan Chrysler White, Fran O'Neill, Christopher Walsh, Kristin Locashio and Jenny Snider
m a r k i n g s
"A picture of the soul was a crudely drawn circle of chalk on the blackboard in my first year of parochial school. Any transgressions against God were depicted as small strokes marking the surface. A venial sin, like fibbing, was a small peck. Something more serious like murder, a mortal sin, would fill in the circle with a swirl of lines that would completely blacken the surface. I found the little cartoons of animals that my Father drew were much more interesting. They were something to keep, and I longed to imitate the way they were made. My crayon drawings of circus animals had more soul than that chalk circle.
"Everything has a source. When the order of things eludes us, we often mistake complexity for chaos, and therefore miss the wonderful sources of things.
The spirit of science, of discovery and illumination, is central to my art. Ultimately, everything made is first found.
Susan Chrysler White
Yin & Yang,
Kachina (detail) 2010, acrylic and enamel on plexiglass, 14' x 8'
Susan Chrysler White
Second Floor Carriage House
At the same time, this process of identifying with my environment breaks down in the studio into a formal vocabulary that is intentionally ambiguous and fragmentary. There's something neurological about my response to this vocabulary during the process of painting. I search for triggers and synapses, as I struggle to define an image. My visual memory of the city is confronted by an approach to materials that is improvisational and painterly.
The images that emerge are colorful, rhythmic, and tactile."
Third Floor Carriage House
Fourth Floor Carriage House
Made of tinted and painted paper mache, they will hang on walls and stand on the floor, like the wooden vehicles exhibited in 2002 at the Bowery Poetry Club in New York City. In both color and surface, paper mache echoes the concrete walls of the carriage house."
Saturday, July 9, 2011
Jon Isherwood with Bruce Gagnier, Dionisio Cortes & Leticia Ortega Cortes, Susan Scott, Michael Volonakis, and Joyce Robins
June 23rd through July 17th, 2011
Isherwood's new sculptures and drawings represent the further development of his ongoing dialogue with the associative sensations of form and surface. Carving stone such as rosa aurora marble, limestone, and black granite, Isherwood gives his sculpture a sensuality and softness that belie the unyielding nature of the material. Carved lines contour the surfaces to emphasize the form, create the illusion of expansiveness and provoke associations to patterning, layering and veiled imagery. His sculptures are a result of a unique process allowing him to attain an uncompromised precision in the carving of the incised surfaces, which play with and against the swelling, fleshy, soft and yet substantial character of his organic forms. Isherwood's drawings further illustrate and compliment the tension between image, shape and skin that characterizes his carvings.
Isherwood's work has been widely exhibited in public museums and private galleries around the US, Canada, and Europe. He is the recipient of a Jerome Foundation Fellowship, a grant from the Pollock-Krasner Foundation, and an Honorary Doctorate from the University of New York at Plattsburgh. His sculpture has recently been exhibited at The Today Museum, Beijing, China; The Museum at Grounds for Sculpture, Hamilton, NJ; and in Belgrave Square, London, UK. He has had more than 20 solo exhibitions, including Reeves Contemporary in NYC, John Davis Gallery in NYC; Maiden Lane Exhibition Space in NYC; the C. Grimaldis Gallery in Baltimore; Pyramid Hill Sculpture Park and Museum in Hamilton, OH; and the Sculpture Court in Southampton, NY. He has been featured in many group exhibitions, including the Peggy Guggenheim Museum in Venice, Italy; The McNay Museum, San Antonio, TX; The Derby City Museum, Derby, UK; and Kunsthalle, Manheim, Germany. His work can be found in more than 22 public collections. Isherwood's work has been reviewed in The New York Times, Art in America, ArtNews, The Washington Post, The New York Sun, Sculpture Magazine, Partisan Reviews, The Philadelphia Enquirer, and in The Times and The Guardian, UK. He has made personal appearances on shows featuring his work, including WAMC Public Radio and The Culture Show, BBC Television, UK. He has lectured at numerous colleges and universities in the U.S. and Europe.
The gallery is very pleased to present, in conjunction with Lori Bookstein Fine Art, the sculpture of Bruce Gagnier.
Bruce Gagnier was born in Williamstown, Massachusetts in 1941. He studied art history at Williams College (1959-1963) and went on to attend the Skowhegan School of Painting and Sculpture in the summer of 1963 and Columbia University (1963-1967), where he studied under Nicholas Carone, Peter Agostini and John Heliker.
"I model figures in clay. These five words isolate elements of my work: myself, the figure, the modeling of it, the clay. Modeling is historical, consistent in technique, painterly, and opposed in its purest practice to carving. Clay can be molded to another identity, made into an illusion through light. The figure has a history of being a form of content, a container for a subject. Sometimes, for me, it seems that its strictly carnal self has taken over and that its body has become the meaning. This difference can become a fulcrum between the then and now. Most often, in my work, I look to the figure as a possible container which embodies a search for a somebody, a person who as another self represents something about all of us; of the human in the environment affected by experience, a record of desire and disappointment, the longing for an ideal and the recognition of compromise. The contents merge to the surface, rearranging the anatomy. I participate in this by trial and error. But these bodies are not me, they are other people and because of that, they are more interesting. The work begins in clay, on a wire armature; I begin close to the wire, the interior. I intervene, gauging the person of the figure along the way. I put myself in the work from the inside out. I go back though, cutting in, to inspect and renew the inner life. One also shifts forms, previously defined, in a collage-like way, to rearrange the combinations and thereby adjust the personality of the (now) other person. It becomes very much a spatial game at this point. Marks, elements of work, etc, are left over, not intended as such and remain only as part of the imperfection at helping a subject find itself in the person; of arriving at a smooth and seamless arrangement to outer space. I give them a name. The inner life and history of this being in reality never completes itself but the work ends when an agreement is made between us that experience for the time being has run its course."
Elevator Shaft Installation
Leticia Ortega + Dionisio Cortes
2011, Site-specific drawing/installation for John Davis Gallery, Hudson, NY
72"W x 89"D x 33"H
Paper, graphite, acrylic paint, polymer resin
In response to the prevailing and intensified violence in Mexico, which has claimed more than 35,000 lives over the past few years, Ms. Ortega and Mr. Cortes have created 35,000 drops a three-story high, drawing/installation.
On his way from the Philippines to bury his son Juanelo, tortured and killed this past March 28th, Mexican poet Javier Sicilia wrote the following poem:
El mundo ya no es digno de la palabra
Nos la ahogaron adentro
Como te asfixiaron
Como te desgarraron a ti los pulmones
Y el dolor no se me aparta
Solo queda un mundo
Por el silencio de los justos
Solo por tu silencio y por mi silencio, Juanelo.
Es mi ultimo poema, no puedo escribir mas poesia... la poesia ya no existe en mi.
Javier Sicilia, Morelos, Mexico April 2, 2010
The world is not longer worthy of the word
They suffocated it inside us
As they asphyxiated you
As they torn your lungs apart
And pain does not depart me
Only one world is left
For the silence of the just
Only for your silence and for my silence, Juanelo.
This is my last poem, I cannot write poetry any
more... poetry no longer exists in me.
Javier Sicilia, Morelos, Mexico April 2, 2010
On April 2nd Mr. Sicilia stopped writing poetry.
Leticia Ortega and Dionisio Cortes live and work in New York City and in Highland, NY. Their work has been shown in the United States, Mexico, and Italy. Ms. Ortega's work has been included in the I Olga Costa Biennial and Mr. Cortes' in the Monterrey Biennial. Both are recipients of numerous prestigious awards including the Vitro Art Center and the Monterrey Biennial in Mexico. They have taught at several institutions including American School and El Nix in Mexico, and Wet Paint! Art Studio in NYC. Their work can be found in numerous private and public collections
Second Floor Carriage House
"These are constructed paintings. Because I know the components of each piece are going to be reconfigured over and over again, I make them from new materials with this In mind. Through what can be an arduous process, the parts become compromised, damaged or changed beyond repair, until ultimately something emerges with pictorial and physical integrity. The process of restructuring --- re-finding formal relationships allows a kind of narrative to edge its way into the work without being literal, so the paintings remain open to very broad readings, always subjective. I'm intrigued by the way Image and obecthood speck to each other in a painting, as if negotiating roles. For example, I might use a piece of wood to replace the rectangular plane of the painting, leaving it with no formal boundaries, but sustained as if by an umbilical to the wall. I have a deep respect for the tradition of painting, within which I find plenty of room to address almost anything, sometimes with a tiny dose of Irreverence and humor."
Third Floor Carriage House
"The process of drawing and painting I trust is educated yet ultimately intuitive. Within what may seem conflicting motivations lie paths to unexpected compositions."
"My work as a reporter has taught me that logical stories, without riddles and holes in them, in which everything is obvious, tend to be untrue."
-- Hanna Krall, The Woman From Hamburg
"I try to use experience of the world, visual memories, to inform my work. Never direct, it is an oblique reference. I am always surprised after completing a sculpture to see that it resembles something in the world. I count it as a success when that occurs because it reinforces an engagement with the environment. Intuition is strong in the beginning of the process. I try to think 'visually' and avoid any kind of narrative impulse in my use of the world. I understand the connections only after completing a sculpture.
Krall's statement is analogous to how I feel about my own encounters in the world. That understanding inspires me to produce sculpture with literal holes. The openings illustrate a concept of time and disintegration. Simple structures that are the ground for a more complicated surface rendering represent a model of this environment.
Slicing a slab of clay from a large block, then rolling it out and starting to shape it with my hands is often enough to suggest the way to proceed. I trust my instinct. It can be a long process to find the shape and longer still to modify and articulate that form. Some of the methods I use to do this include removing material from it, using a wooden tool to mark indentations in the interior and at the edges, using a steel tool to make perforations and, finally, shaping the edge itself. I want light to penetrate through the dense and opaque clay.
Sometimes I stretch it over a form to dry creating an irregular and undulating membrane. After it is fired, then, the form will lift off its supporting surface. Glaze is applied to some indents so color will be held in a different way than on untreated surface.
I grew up at the ocean edge with beaches and salt marshes. It was important for me to see the mix of landscape and water, the colors of the marsh, as well as the encrustation and buildup of repeated encounters of liquid against solid, the evidence of time, of decay and renewal. Memories of being there, looking closely at what landed on the edge have remained a continuing source of inspiration. These conditions are always there when I make art. The holes are metaphors for the bubbles in the foam of a receding wave. They are about a dissolution or disappearance of material. They are also intimating an ordering, not symmetrical, but still a balancing of elements. They provide a framework to integrate color onto the form. The shape of my sculpture is usually something simple, enough to hold a diverse amount of marking"
Friday, May 27, 2011
On Thursday, May 26th, a group of artists will open the season with a medley of exhibitions for the Main Galleries, Sculpture Garden and Carriage House. In celebration, the gallery will have four solo shows (sculpture, painting, and an installation). The work will be on display through June 19th with a reception for the artists on Saturday, May 28th from 6:00 until 8:00 p.m.
"These recent pictures, all made with gouache on handmade paper, were completed in the winter and spring of 2010-2011. As usual, they depict scenes from around my home in the Catskills. My usual working method is to create loose sketches from memory and imagination and then translate them into paintings.
The paintings in this exhibition, although small, take time to develop. I make many adjustments and "corrections", mostly in pursuit of a nebulous but insistent sense of balance. Not compositional balance, but the balance of all the various parts of a picture including its tenuous connection to outside reality. I'm preoccupied by the distinction between fact and fiction in what is largely an artificial enterprise. You could say that I am compelled by a pictorial truth, not realism."
Stephen L. Reynolds & Pamela J. Wallace
Pamela J. Wallace and Stephen Reynolds will be exhibiting sculpture in the garden that is a result of their collaboration. The two pieces are titled "Water Capture" and each is 9 feet high.
Excerpts from an industrial dream... On road trips Wallace and Reynolds slow their car down to a crawl when passing a fading industrial structure or farm building. Their idea of a good time is to tour a WWII era factory where submarine propeller shafts were made. These aging industrial structures are filled with textural and formal details that travel with them back to their Germantown studio. There, the sculptures that they collaborate on are distillations of this shared visual experience and are the result of long conversations and many sketches.
The final product is always far from an exact representation of the original source, but their careful selection of details results in a unique object that nonetheless suggests the beauty of industry past its prime.
Pamela J. Wallace & Stephen L. Reynolds
Elevator Shaft Installation
Pamela J. Wallace
Suspended so far, yet somewhere else
"In Suspended so far, yet somewhere else, I am constructing a system in response to the architecture and function of this elevator shaft. For years, this elevator moved countless pounds in and out of this carriage house. I do not know what was lifted or how much weight was carried, but it is this absence of information that motivated me to produce this work.
Using a system of suspended spheres, ropes, bowls and stones, I've created an installation that reflects on the many unknown burdens that have moved up and down in this space. Stopping this movement, I have held the platform on the bottom floor by weighing it down with small stones, forcing it, for the time being, to simply sit still."
This installation was made possible with funding from The New York Foundation for the Arts, Special Opportunity Stipend Project Grant.
Pamela J. Wallace,
Second Floor Carriage House
Pamela J. Wallace
"I combine hard durable industrial materials such as iron and concrete with organic ephemeral materials like paper, thread, fabric and wax. As this is aesthetically appealing to me, I am also interested in working with materials associated with work and gender as I forge iron elements, or sew and use paper to create contrasting organic forms.
Both my installations and sculptures are made up of a continuum of objects, where patterns are often mapped out like constellations. Upon first looking, one sees a distribution of objects mimicking non-linear geometries where order comes and goes. Approaching the work, it becomes clear that the smallest detail is essential, as with the tiny insect pin as it can pierce and display, exposing awkwardness and vulnerability as when a bug is pinned up and studied. Closer inspection reveals unexpected details such as plant fibers encased in sewn plastic bags, iron spoon and bowl forms capturing empty space, or circles held tight to the wall by the tips of pins."
Pamela J. Wallace,
Third Floor Carriage House
Pod, Nest, Vine, Sky
"I relish the time it takes to observe, render, and interpret. The slow, incremental process of adjusting formal elements over and over is essentially what brings me the most substantial sense of involvement. I paint to find a place between seeing and invention.
The varied space of the Carriage House offers the opportunity to install pieces with three different, concurrent types of work. The first set of paintings are in oil on panel; the second, stretched paper pulp drawings; and finally, monotype prints with watercolor. Due as much to necessity as inclination the series, through material and visual intention, maintain continuity. I keep a rural Pennsylvania studio for painting and a studio for works on paper in Manhattan. I enjoy the diversity and the cross-pollination of ideas among works of each studio.
Historical landscape, still life, botanical drawings and compulsive gesture drawing have importance in these works; their presence obvious throughout. The Nest and Vine series come directly from still life and observation. 'Pods' rely on the scrutiny of botanical examination. The monotypes merge renderings of popped corn with studies of shifting cloud masses."
Robert C. Morgan
"Beginning in 1970, my work as a painter has involved the use of metallic pigments and polymer emulsion in both representational and abstract styles. The centerpiece of the current exhibition involves a diptych, titled Learning To Swim, based on a two-part image I saw in a 1937 swim manual that I painted in 1974. The painting was previously shown at White Columns in New York in 1984. The five smaller paintings are geometric forms, which double as letters, painted in 2011. As with other recent exhibitions, I consistently include a mix of early and up-to-date paintings in order to show a formal, conceptual, and historical relationship between the paintings. I enjoy seeing the present in relation to the past, and enjoy the feeling of a progression in time by painting images and forms that intrigue me. I look for both erotic and ironic content in my work, and hope that this will communicate to my viewers."
Robert C. Morgan,