    |
|
Previous
Exhibitions “Little Dancers,” new ceramic sculpture by Garth Evans, and “The Objects of My Affection,” new works by Lynn Itzkowitz. GARTH EVANS is known for his biomorphic fiberglass sculptures, which are honed to perfection over a long period of time. In his new body of work, he revels in the immediacy of clay. Forms are quickly sculpted and then are fired, refined, and sometimes repeatedly glazed. The results are a spontaneous and eventful group of ceramic sculptures that evoke the fluidity, power, and balance of artist Henri Matisse and dancers Isadora Duncan and Mark Morris. Evans’ work is in the collections of The Brooklyn Museum, The Gulbekian Museum, Lisbon, The Hirschhorn Museum, MOMA, The British Museum, The Metropolitan Museum of Art, NYC and others. Recent work by LYNN ITZKOWITZ imbues everyday objects with a history. A delicate skin of metallic tape, which sometimes is combined with charcoal and pastel, is applied over personal artifacts in a process that redefines their function as cast-off household items and takes them to the realm of autobiographical sculpture. A father’s telephone, fan, deck chair, and other works stand both as icons of remembrance and tributes to form, function, and genealogy. The work of Itzkowitz is owned by J.P. Morgan Chase, The Brooklyn Museum and numerous private collections. --- From May 24 through June 29, 2008 Ed Smith's The Labors of Hercules recounts not only the mythic struggle of Hercules as he attains his promised immortality, but also the internal and external demands placed upon the artist. On exhibit are group of sculptures and charcoal drawings which capture this struggle. Joy Taylor's new Skin Deep works begin with a printed image found in a doctor's office: an idealized portrait that oftentimes is used to denote sensory changes. This chart becomes the 'head' for a diverse body of personages, executed in drawing and collage, which change from day to day and emotion to emotion. Also on display will be a group exhibition of gallery artists, including work by: An opening reception for the artists will be held at the gallery on Saturday May 24 from 6-8 pm.
PERFORMED
SATURDAY, APRIL
19TH AT THE
HUDSON OPERA
HOUSE 10-6PM The artist states that "Free wheel is my approach, as well as the main imagery in these works. Try to let the colors and images flow easily out of my being and onto the paper directly, without much planning. I noticed many circular forms, wheels or pizzas, all freely appearing. Flowing from one paper to the next, many other forms emerged, abstracted raisins, socks, rainbows, clouds, flowers, stars, all bumping into each other and moving around. Watercolors were the perfect medium for this type of exploration, because of their directness, speed and brilliance. A reflection of my interest in Zen Buddhism has also manifested itself in these works. The wheel itself is an ancient symbol of Buddha's teaching." During the 1980's Greenblat was always a very high profile part of the East Village Art scene. And along with Keith Haring and Kenny Scharf, Greenblat was a central figure in shows at Gracie Mansion Gallery and The Whitney Biennial. Greenblats' new work still retains the original playful nature associated with those East Village days, but now it points to more complex concerns. His work is
in the collections
of the San Diego
Museum of Contemporary
Art; the Chrysler
Museum; the
Groeninger Museum,
Amsterdam; The
Museum of Art,
Rhode Island
School of Design;
the Neuberger
Museum, and
others. The exhibition takes a liberal view of vice, exploring subject matter that is considered inappropriate but fashionable, personal addictions, phobias, and bad habits. A direct approach to the concept is realized in a portfolio of prints by Julian Opie, who depicts his friends smoking, and in a work from the 1960s by Ching Ho Cheng (Chemical garden), who recounts a drug-induced experience. A drawing by Karen Moss (Insatiable) and photographs by Marco Badot envision excessive passion for food and high-heeled shoes, respectively. A more indirect, sociopolitical approach to vice is captured in pictures by Chris Burden, who documented performances involving terrorists' gunplay and pyromania. In addition, a collection of collages by Lucio Pozzi (The Helmsman’s Dilemma) comments upon the fanatic views of Senator Jessie Helms, and work by Ney Tait Fraser documents the extremist stance of a man and his motorcycle. From decadence to dissolution, Vice offers an artists' look at morality, but lets viewers draw their own conclusions. An opening
reception will
be held at the
gallery on Saturday,
September 29th-
6-8PM. Gallery
hours are Friday-Sunday
12-6PM, and
by appointment.
For further
information,
please contact
the gallery
at 518.828.4539. |
|