Claire Oliver's program balances conceptual concern with a highly visual approach. Its exclusively represented artists mix traditional disciplines like painting, drawing, and sculpture with new media, methodology, and mindset. A dedication to physical process, a commitment to craft, and an intensity of detail are common to all of the Gallery's artists.
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.
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 – 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.”
“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.”
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.
Beth Lipman – Sideboard with Blue China, 2013 glass, wood, paint, glue
Beth Lipman’s Sideboard with Blue China will be on display at the Museum of Wisconsin Art on February 7. Lipman’s sculpture–a large-scale homage to the ultra-extravagant, historic sideboard by Bulkley and Herter (held in the permanent collection of the Museum of Fine Arts, Houston and exhibited at the New York City Crystal Palace in 1853)–combines symbols of human predation with aspects of the human body.
Art Info interviewed Andrew Erdos for his exhibition “Guaranteed Impermanence,” that was on display at the Gallery in 2013. By incorporating the viewer’s own reflection within his works of art, Erdos cleverly creates an environment that demands participation from anyone who observes it. The artist manipulates the context to bring the viewer into a state of contemplation and deliberation on life, mortality and man’s place in the natural world. In one of his signature videos, Erdos has superimposed ruins of ancient man’s Anasazi caves at sunset, with the pinnacle of contemporary society’s frenetic New York City, situating both the viewer and Erdos’ own running heard of animal creations in a kaleidoscopic fantasy land.