Detail, Antique Baby Rooster, Painted sheet iron, 10.25 x 13 x 2.5″, French, early 20th century.
January 8, 2018
Above is the incredible “FLY” sofa just unwrapped from Copenhagen with a curved-slatted back and loose cushions that can be arranged according to a person’s own needs – with built-in side tables – exceptional. The credenza is iconic Paul McCobb with accordion front doors and classic mid-century brass trim. Lamp by Stone & Sawyer. Artwork by Jim Oliveira.
Above image highlights the incomparable 1950s “Airport” sofa in black leather by Hans J Wegner with a pair of Florence Knoll coffee tables and baby-blue upholstered lounge chair c1970 in the Papa Bear style. Lamp by Joe Cariati over a classic 1950s George Nelson steel frame cabinet in powder blue.
December 13, 2017
19th-century oil on canvas Romantic Landscape at Arenskjold Antiques Art
November 2, 2017
Galerie Gris is pleased to announce a solo exhibition of new paintings by Susan Wanklyn. The works range in size from 34 x 36 inches to 9 x 12 inches and are casein on wood panel, included are a series of gouache and casein drawings on paper titled ‘Plant Life’. In this body of work that Wanklyn refers to as “Cookie Cutter” paintings, the spontaneous, the casual, and the ephemeral of finding such ‘ready made’ shapes (sometimes inspired by appliquéd fabric and clothing) inhabit a spirited world of nonobjective charm. Within these intuitive compositions there is an adept placement of forms, sometimes the shapes behave as space, sometimes as things. The shapes are freed from the ground and placed so that they have a definitive relationship to the space around them. With color and tonality the shapes always find their own space, demanding a separateness while maintaining a focus on the relationship between shape, form and color. In these paintings Wanklyn creates space for the imagination, clearly eluding a distinctive narrative. The idea of painting as a means to an emotional and spiritual end with subtle fluctuation between the meditative, decorative and familial resemblances creates lyrical work of visual serenity, joyful paintings.
October 4, 2017
MIXED MEDIA: PAINTING & SCULPTURE ON VIEW THRU NOVEMBER 12th
Opening Reception: Saturday, October 7th, 5 -7 pm
James O’Shea’s abstract paintings will be the focus of Carrie Haddad Gallery’s front room this fall, part of “Mixed Media: Painting & Sculpture”, an exhibit that also includes paintings by Adam Cohen and Ginny Fox, with encaustic pieces by Susan Stover and wall sculptures by Dai Ban. The upstairs photography gallery will feature new manipulated architecture inkjet prints by Stephanie Blumenthal. The exhibit will be on view from September 27 to November 12, with an opening reception for the artists on Saturday, October 7 from 5 – 7 p.m.
Open Daily 11 – 5 pm
Mixed media paintings by James O’Shea (left) and minimalist wall sculpture by Dai Ban (right)
Mixed media paintings by James O’Shea
Hand dyed indigo and encaustic wall sculpture by Susan Stover
Contemporary Abstract Expressionist paintings by Adam Cohen
Minimalist wall sculpture by Dai Ban
Minimalist monochromatic paintings by Ginny Fox
Manipulated architecture inkjet prints by Stephanie Blumenthal
October 1, 2017
Providence X Hudson: Prevailing Mysteries
curated by Manya K. Rubinstein
For much of its recorded history, the city of Hudson has been visited—and shaped—by outsiders. Artists have long been drawn to the natural beauty of its surrounding landscape. In recent years, more than a few artists with ties to Providence, Rhode Island (itself no slouch in the creative department) have decided to make Hudson their home. This show presents a selection of work by four women artists who currently reside in the Providence area and are part of a continuing exchange of people, art, friends and ideas that flow between New England and the Hudson Valley.
The artists represented here work in different mediums but each, to varying degrees, touch on issues of mysticism, order versus chaos, and our relationship to the natural world. In a time of political and climatic upheaval, they ask us to examine how we choose to think and how much we allow ourselves to feel. Where do we draw the lines between ourselves and our environments, constructed and natural? How do we make sense of chaos in the world at large or even within our own psyche?
Theresa Ganz’s ornate reimagined landscapes (created through delicate layering of photographic source material) point to the thin lines between documentation and invention, yielding an unending dance between the natural and artificial. She calls up a 19th-century romanticism and idea of women’s work in a format that is a distinctly 21st-century take on truth and representation.
Jungil Hong, known for her psychedelic silkscreens and paintings, here uses woven textiles to look at how people, places, and things become markings as we move through time. The pieces were created on a Jacquard Loom, one is a “secondary sonic tapestry,” a term Hong invented to describe the process of recording the sounds of the loom, converting them into binary code, then feeding the sounds via a punch card back through the loom to create the final weaving.
Tayo Heuser’s childhood, spent in North, East and West Africa, heavily influenced her visual motifs. Her process to prepare her canvases is exacting and yields beautiful results: hand-burnished, unique surfaces on which she paints and draws, layer upon layer. Her gestural lines recall energetic fields surrounding living beings, and hint at underlying structures and forms of natural phenomenon that we may not be able to see with the naked eye.
Rachel Hulin, a writer as well as a fine art photographer, creates work that elevates the quotidian into the sublime, taking the minutia of the domestic and the everyday and translating them via a formal visual language of light, color and form into something deep and profound.
Each artist uses the idea of translation to create patterns and structures by which we may begin to order, process, or at least approach what remains expansive and unknown. Yet ultimately, there is much that escapes these attempts; perhaps it is inevitable that some mystery still prevails.
Prevailing Mysteries October 7th – November 24th
Opening Saturday October 7th, 4-6 pm
September 29, 2017
September 21, 2017
Settee in the Manner of Walter Lamb