Andrew Erdos Working On New Sculptures


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Andrew Erdos has been working on a new direction for his glass sculptures. He sent us these shots from his studio showing some of his works in progress.

His sculpture “Ghost Under Infinite Darkness” is on the cover of the new issue of New Glass Review. The journal includes an article about the Artist.

“‘Creating a situation that is overwhelming to the senses is [in] many ways a representation of daily life,’ Erdos says. ‘Living in New York, being surounded by millions of people doing their own lives… there’s just intense competition for energy, for emotion, for people’s time, for people’s feelings, for people’s responses, for people’s ideas. And then you also have something like a beautiful sunset that is an absolute sensory overload. But it can also be really peaceful and calming.’”

Click here for the full interview.

His work is also featured in a new show at the Knoxville Museum of Art called “Facets of Modern and Contemporary Glass.”  For Erdos’s full curriculum vitae, click here.

 

New Work from Judith Schaechter

 

 

 

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Judith Schaechter sent us images of this work in progress from her studio.  She explains that “in order to make a red figure, one must engrave blue glass.”

Also, Schaechter’s stained glass work Mother and Child was recently acquired by the State Hermitage Museum, St. Petersburg, Russia.  The work Mother and Child will be on initial view toward the end of 2014 and then enter the Hermitage’s permanent collection. Founded in 1764 by Catherine the Great and open to the public since 1852, The State Hermitage Museum becomes the 19th museum to add Ms. Schaecther to thier perminate collection of works including The Metropolitan Museum of Art, Victoria and Albert Museum, Carnegie Museum of Art and The Smithsonian Institute of American Art.

Schaechter will have a new exhibition at the gallery in September. Stay tuned for more updates from her!

 

Diggs & Hillel’s “125th: Time in Harlem” Book Out Now!

 

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Last week, Diggs & Hillel were at the New York Photo Show signing copies of their recently published “125th: Time in Harlem.”  The show featured some of the most preeminent dealers specializing in photography ranging from daguerreotypes to digital images.

We will be selling copies of their book at the gallery soon, and in the meantime you can purchase the book digitally on iTunes through Restless Books.

 

“Vanilla Scented Sovereignty” by Lisa Alonzo Receives Rave Reviews

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Lisa Alonzo – The Yoga Mat, 2014

Lisa AlonzoThe Yoga Mat [detail], 2014

Alonzo’s first solo exhibition is now on display in its first week. Please do come by to see these paintings for yourself.  Here are some websites that have reviewed the show already!

“The Artist’s unique visual language juxtaposes desire, enticement, and abundance through her medium with a more threatening side of contemporary culture through her subject matter.”
- “10 Exhibitions to Watch” Mutual Art

“Her hyper-colorful works look good enough to eat, but ‘the destructive nature of the object is subverted in its seductive presentation.’”
- “5 Must-See Art Shows” Paper Mag

Alonzo’s “technique is a refinement of one of the high points of Modern painting, Pointillism, and Alonzo adds another, almost hysterical layer to Seurat’s Le Grande Jatte, by combining the beauty of Pointillism’s ballet of color with the designer frosting florets of a confectioner.”
- “Candy Coated Crisis” Beautiful/Decay

Judith Schaechter Delivers Keynote Lecture

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Judith Schaechter – Birth of Eve, 2014 Stained Glass Lightbox

 

 

On April 7, Judith Schaechter will be delivering the keynote lecture for a special conference presented by the British Society of Master Glass Painters. The conference attracts many eminent speakers on stained and architectural glass from amongst its UK and international membership and beyond. Subjects range from modern to mediaeval, brought to life by the enthusiasm and expertise of historians, conservators and contemporary practitioners. The conference is fully booked, but here’s a preview from Schaechter herself about her address, entitled, “Nothing Personal.”
“I have worked for 30 years as an independent fine artist in the medium of stained glass. When I began, it seemed underutilized and relatively unexplored as an expressive, painterly medium. As I sought to extend the potentialities of stained glass, I worked primarily in ignorance of history and in isolation from the field of architecture. I will discuss how this was liberating, but ultimately led me back to the roots of stained glass as a powerful mode of transformative experience, culminating in 2012, when I installed 17 pieces (temporarily) in the architectural ruin of Eastern State Penitentiary.”

For information about the conference, click here: http://bit.ly/1il6bGf

Bernardi Roig’s Exhibition Reviewed in ARTnews Magazine

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Bernardi Roig - Je est un autre (G), 2013

“This small but powerful show of new drawings and sculpture by Bernardi Roig revolved around the the theme of the decaying image, a process presented here as either subtle or aggressive, but always inexorable. Combining meticulous craftsmanship with uneasy references to art history, the artist proved himself deft with line and material as well as with concepts.”

- George Stolz

ARTnews reviewed Roig’s exhibition The Mirror (exercises to be another) in their March issue. For the full article, click here.

Bernardi Roig will be featured in a new exhibition this October at the Phillips Collection in Washington, DC. Check back here for updates.

Adeline’s Portal by Beth Lipman at Chrysler Museum of Art

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Beth Lipman – Adeline’s Portal, 2013
at the Chyrsler Museum of Art

Built in the 1790s the Federal-era Moses Myers House now stands as a museum that represents what daily life was like for the Myers family and their contemporaries.  Some say that Adeline Myers haunts the room where she once lived.  In “Adeline’s Portal” Beth Lipman considers the spectral presence of Adeline by mingling some of the Myers heirlooms with her own glass works. “The narrative of life is told and mythologized in the objects that remain long after we are gone,” Lipman says, “inviting us to conjecture about what has come before.” Because each object is made of colorless glass, it is almost impossible to tell which belongs to which time period, creating an uncanny portal back into time.