Derek Buckner
City Views
George Billis Gallery, NYC
April 17 – May 12, 2012
Opening Reception April 19, 6-8pm
Calendar of Events
April 17, 2012
Derek Buckner at the George Billis Gallery
April 7, 2012
Maggie Siner at the Galleria S. Eufemia, Venice, Italy
Maggie Siner
Vernissage
sabato 7 aprile ore 18.30
Reception
Saturday, April 7 at 18.30
G A L L E R I A ? S. E U F E M I A
Giudecca 597, Venezia
tel.041-2960240
Linea 2 – 42 – 41 Fermata “Palanca”
www.eufemiagallery.com
(from her website bio)
Maggie Siner’s is a quiet voice in the contemporary art world yet her paintings are held dear for their enduring qualities: the perfect sense of the fleeting moment, exquisite clarity of light, bold gestural brushwork, delicately balanced structure, fine craftsmanship, and the captured moment of absolute recognition. Her subject matter ranges from the intimate (a handful of cherries), to the monumental (earth and sky), to whimsical combinations of objects, always evoking surprise and beauty.
Born in Providence, Rhode Island, Siner began her studies at the Art Students League of New York in 1968, graduated from Boston University (BFA) and American University (MFA) and has lived for extended periods in France, China and Italy. Her work has been exhibited in galleries and museums for over 30 years and is in hundreds of private collections around the world.
April 3, 2012
Benny Fountain – Kitchen Paintings – Froelick Gallery, Portland, Oregon
Benny Fountain
Kitchen Paintings
Froelick Gallery, Portland, Oregon
APRIL 3 – APRIL 28, 2012
March 31, 2012
Inside Edward Hopper’s Truro Studio: Paintings by Philip Koch
Inside Edward Hopper’s Truro Studio: Paintings by Philip Koch
Edward Hopper House Art Center
March 31 – May 13, 2012
As a young artist Philip Koch was inspired by the work of Edward Hopper to change
from making abstract painting to working in a realist direction. Since 1983 Koch has
enjoyed thirteen residencies staying and painting in Hopper’s Cape Cod studio in S. Truro,
MA.
The Edward Hopper House Art Center, Hopper’s birthplace and boyhood home will show
a selection of paintings Koch has made of the interior of Hopper’s Truro studio.
There will be an opening reception Saturday, March 31, 5-7p.m.
At 7p.m. Koch will present a slide talk “Three Things You Didn’t Know
About Edward Hopper.”
82 N. Broadway
Nyack, NY 10960
845-358-0774
http://www.edwardhopperhouse.org/upcoming-exhibitions.html
March 27, 2012
Midwest Paint Group with Gabriel Laderman at Wright State University
The Cardplayer, Gabriel Laderman, oil on canvas
Recent paintings by the Midwest Paint Group along with work of the late artist Gabriel Laderman are being presented by the Wright State University – Robert and Elaine Stein Galleries in the exhibit “Realism and Its Discontents”, which opens on March 27. The Exhibit runs through May 6 at WSU and will travel to Manchester College in North Manchester, Indiana for a showing between September 14 and November 25. A special closing reception with the artists will be held at WSU on May 6 between 4 and 5:30PM.
The Midwest Paint Group is an association of American painters formed in 2001 and dedicated to an aesthetic movement in contemporary art known as Post-Abstract Figuration. This movement is characterized by the endeavor to paint perceived experience through the lens of 20th century abstraction, and tempered by the understanding of pictorial devices of early and recent masters. The Group consists of 12 painters: Bob Brock from the Kansas City area; Michael Neary and Amy MacLennan in St. Louis; Tina Engels, Lynette Lombard, Timothy King, and Megan Williamson of Northern Illinois; Jeremy Long currently working in Upstate New York; Ron Weaver from Indiana and Wisconsin; and Glen Cebulash, Deborah Chlebek, and Philip Hale of the Miami Valley region of Ohio. Glen Cebulash, who is Professor and Chair of the Art and Art History Department at WSU, is the curator for the exhibition.
“Realism and Its Discontents” also serves as a tribute to Gabriel Laderman, who passed away in 2011 at age 81. Mr. Laderman was an important New York painter and exponent of the figurative revival that emerged from abstract expressionism in the 1950s and 60s. Mr. Laderman was a very good friend and vocal supporter of the Midwest Paint Group. This will be the first time that Mr. Laderman’s work will be shown in this region.
March 13, 2012
Jeffrey Reed at the George Billis NYC
Jeffrey Reed
George Billis Gallery NYC
March 13 – April 14
Reception:
Thursday, March 15, 6 – 8 PM
March 3, 2012
Tim Kennedy – Appearances – First Street Gallery NYC
First Street Gallery NYC
February 28 – March 24, 2012
opening reception opening will be on Saturday March 10 from 3 to 5
Appearances, a solo exhibition of paintings by Tim Kennedy, will be held at First Street Gallery from February 28 to March 24, 2012. This is Mr. Kennedy’s sixth solo exhibition at First Street Gallery. Once again, Mr. Kennedy looks to his neighborhood of 1920s bungalows in the Perry Four section of Bloomington, Indiana for inspiration. In this exhibition his focus is on the people of the area through portraits of neighbors and colleagues as well as paintings in the genres of interior, still life, townscape and figure composition. The exhibit will consist of both large-scale paintings and smaller works. The theme of the intimacy discovered and inherent within domestic life asserts itself across painting genre.
February 16, 2012
Broken/Window/Plane organized by John Yau at Tracy Williams, Ltd
Broken/Window/Plane
at the Tracy Williams, Ltd – NYC
Organized by John Yau
16 February – 17 March 2012
Artists:
Gary Stephan
Catherine Murphy
Lois Dodd
Paul DeMuro
Andrea Belag
Merlin James
Joanne Greenbaum
Sangram Majumdar
Judy Ledgerwood
Marc Handelman
Olav Christopher Jenssen
Nicholas Krushenick
The idea for this exhibition came from a conversation that I had with Gary Stephan while we
were looking at the newest paintings in his studio. He began talking about “pressure being
applied to the picture plane,” but didn’t specify whether this force came from the artist, history,
or nature. And, to compound matters, I also realized that there is the pressure on the artist as
well, from authorities and institutions, not to mention gravity.
In order to clear a space for yourself, you have to ask a basic question but defer the solution:
couldn’t the picture plane be both solid and transparent, layered and punctuated, there and not
there, something we see even when it is invisible? Why would you want to confine painting’s
identity to a narrow set of conventions? Why not try and find fresh ways to distinguish it?
Stephan’s observations confirmed a long-held suspicion. Painters – the best ones, anyway –
have long found ways to supersede the received wisdom regarding painting’s identity. The
reasons are obvious – why would you want to spend your days thinking of a painting solely as a
two-dimensional surface upon which to apply paint? Might not a more challenging goal be to
bring everything back into play – from discredited illusionism and the figure/ground problem to
allusiveness and association – without being nostalgic, sentimental, ironic, or coy?
I was reminded of conversations that I had had with Lois Dodd, Sangram Majumdar, Catherine
Murphy and others. A space for reflection had opened up, and I thought it was worth exploring.
The sole motivation for my selections was the work itself – the paintings are in dialogue with
others in the show. They speak across generations. They don’t recognize the borders separating
abstraction from observation. They are free spirits. Speculation and play have replaced claims to
being factual. Or, to put it another way, the artists in this exhibition recognize that what you
need – if you wish to pull a rabbit out of a hat – is a rabbit and a hat.
(from the press release)
January 31, 2012
Erin Raedeke First Street Gallery NYC
Erin Raedeke Things Left
January 31 – February 25, 2012
Reception: Saturday, February 4, 3 – 5 pm
In her first solo exhibition in New York City, Erin Raedeke explores complex relationships by observing the detritus of everyday life. In “Things Left,” the still life becomes a vehicle for grappling with unresolved thoughts and memories. The viewer enters the paintings as if they were entering a play mid-scene. The elusive plot is not unlike the subconscious. Fragments are not connected in an ordered way. Patterns are observed and dynamics play out as the motivations of characters emerge. Is the whimsical bird in a painting an innocent witness or does it play a more complicit role? These are the things that are left in the residue of daily life.
January 12, 2012
sangram majumdar new work
sangram majumdar new work
shfap
steven harvey fine art projects
Jan 12- Feb 19, opening Jan 13 6-8pm
steven harvey fine art projects | 208 forsyth |
new york ny 10002 | 917 861 7312
www.shfap.com
Steven Harvey Fine Art Projects presents our second solo exhibition of paintings by Sangram Majumdar. Born in 1976 in Calcutta, Majumdar is an image-based painter who received his BFA from Rhode Island School of Design and his MFA from Indiana University and is currently on the faculty at Maryland Institute College of Art.
This new body of work ranges thematically from a portrait (Portrait Projected), to a painting that plays with geometric abstraction (Fall Into). Yet underlying all of the paintings is a complex compositional process of perceptually-based image overlays – paintings atop paintings. Majumdar’s work of ten years ago explored figure groups and crowds as subjects. In his recent work, the figures are often erased, with just traces or remnants of their presence remaining. Detailed, precisely drawn forms become pieces of a dense, but ultimately unified surface. Open spaces and voids are explored as much as accumulations of objects.
The layering of fragmentary information relates to Majumdar’s reflections on Bengali culture – the multi-day, multi-sensory religious festivals (pujas) that were part of his childhood in Calcutta. These paintings contain references to the myth of Durga – a Hindu Goddess who slayed the buffalo demon with her lion. The image layering is also an exploration of our relationship to social media, where partial knowledge becomes embedded in us – but only as fragments. The paintings in the exhibition are inter-related: we find small segments of imagery repeated and re-mixed in different ways, for example, in Smoke and Mirror and Fall Into. They become half-truths, a questioning of image and narrative, and Majumdar invites the viewer to discover what is actually there.