tag:blogger.com,1999:blog-69089439237109958942024-03-13T23:26:16.554-07:00Structure and ImageryPaul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.comBlogger1023125tag:blogger.com,1999:blog-6908943923710995894.post-26655460015708079162021-07-27T19:08:00.001-07:002021-07-27T19:49:22.645-07:00Justine Rivas at The Valley<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6nHPsN0NvZs/YQC38H1SFKI/AAAAAAAAVI0/MBDe32QjfvcLjQrl-oEq_-CndK5OyPY_QCLcBGAsYHQ/s959/Screen%2BShot%2B2021-07-27%2Bat%2B7.49.31%2BPM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="638" data-original-width="959" height="426" src="https://1.bp.blogspot.com/-6nHPsN0NvZs/YQC38H1SFKI/AAAAAAAAVI0/MBDe32QjfvcLjQrl-oEq_-CndK5OyPY_QCLcBGAsYHQ/w640-h426/Screen%2BShot%2B2021-07-27%2Bat%2B7.49.31%2BPM.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Installation view: Justine Rivas, How to Carry a Cloud.<br />Photo courtesy of The Valley</span></td></tr></tbody></table><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nlbcoC5jp20/YQC2PdS5DbI/AAAAAAAAVHo/jrUgece4qQ41dZa_SMO9D_fAl0ftGTwMACLcBGAsYHQ/s2016/IMG_5513.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2016" height="480" src="https://1.bp.blogspot.com/-nlbcoC5jp20/YQC2PdS5DbI/AAAAAAAAVHo/jrUgece4qQ41dZa_SMO9D_fAl0ftGTwMACLcBGAsYHQ/w640-h480/IMG_5513.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-TkTuLMZ2Pyo/YQC2Wc3MNOI/AAAAAAAAVHw/vaUL8eptVSoIuTPHYIPIJyOxMwtzIWWUwCLcBGAsYHQ/s2016/IMG_5514.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-TkTuLMZ2Pyo/YQC2Wc3MNOI/AAAAAAAAVHw/vaUL8eptVSoIuTPHYIPIJyOxMwtzIWWUwCLcBGAsYHQ/w480-h640/IMG_5514.jpg" width="480" /></a></div></div><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mgGNSohYWjw/YQC2WC9f-SI/AAAAAAAAVHs/xX8Nf5PHnW8nqS4zI0OwBsUwqSJcBvGjwCLcBGAsYHQ/s2016/IMG_5515.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2016" height="480" src="https://1.bp.blogspot.com/-mgGNSohYWjw/YQC2WC9f-SI/AAAAAAAAVHs/xX8Nf5PHnW8nqS4zI0OwBsUwqSJcBvGjwCLcBGAsYHQ/w640-h480/IMG_5515.jpg" width="640" /></a></div><br /> <p></p><p><span style="font-family: arial;">Justine Rivas: How to Carry a Cloud</span></p><p><span style="font-family: arial;">Up through August 7, 2021</span></p><p><a href="https://www.thevalleytaos.com/" target="_blank"><span style="font-family: arial;">The Valley</span></a></p><p><span style="font-family: arial;">1800 Camino del La Placita, Unit D</span></p><p><span style="font-family: arial;">Taos, NM 87571</span></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VZ3sdIMTCgw/YQC2sPTFn6I/AAAAAAAAVIA/jiKF_3eeIQYc1QNhsnYO7ONHpnZXauiygCLcBGAsYHQ/s1383/IMG_5517.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1383" data-original-width="1065" height="640" src="https://1.bp.blogspot.com/-VZ3sdIMTCgw/YQC2sPTFn6I/AAAAAAAAVIA/jiKF_3eeIQYc1QNhsnYO7ONHpnZXauiygCLcBGAsYHQ/w492-h640/IMG_5517.jpg" width="492" /></a></div><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-feDAXBTELJ8/YQC2sbixPCI/AAAAAAAAVIE/87DdJtakS7wObSZro6QlrqV_gKp3VaO0gCLcBGAsYHQ/s1512/IMG_5518.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-feDAXBTELJ8/YQC2sbixPCI/AAAAAAAAVIE/87DdJtakS7wObSZro6QlrqV_gKp3VaO0gCLcBGAsYHQ/w640-h640/IMG_5518.jpg" width="640" /></a></div><p><br /></p><u><span style="font-family: arial;">From the Press Release:</span></u><p></p><p><span style="font-family: arial;"><b style="white-space: pre-wrap;">The Valley</b><span style="background-color: white; white-space: pre-wrap;"> is pleased to present its first solo exhibition with Los Angeles-based painter </span><b style="white-space: pre-wrap;">Justine Rivas</b><span style="background-color: white; white-space: pre-wrap;">. The exhibition, titled</span><em style="overflow-wrap: break-word; white-space: pre-wrap;"> How to carry a cloud,</em><span style="background-color: white; white-space: pre-wrap;"> includes a series of new paintings that explore hidden sources of water in the desert landscape.</span></span></p><p style="margin: 1rem 0px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="background-color: white;"><span style="font-family: arial;">Rivas uses clouds and creosote bushes as metaphors for the interconnected sources of life-giving moisture in arid regions. Both reflect water stored in the land and the air, deceptively close and yet inaccessible. Cloud forms appear across several works, oscillating between pattern and landscape. As above, so below- creosote in its various forms appear as a familiar and familial plant speaking to the artists’ connection to the desert landscape, her family has lived in the borderlands since time immemorial. </span></span></p><p style="margin: 1rem 0px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="background-color: white;"><span style="font-family: arial;">Creosote dominates the landscape of Arizona, Los Angeles, Texas and New Mexico. The creosote plant is incredibly resilient to drought, retaining water from rain above and the aquifer below. The root systems of mature creosote plants are simply so efficient at absorbing water that fallen seeds nearby cannot accumulate enough water to germinate, effectively creating dead zones around every plant. The Spanish word “creosote” translates to <em style="overflow-wrap: break-word;">governes</em>; and while a harsh and hardy plant that takes from the land, it also returns the favor in the form of medicinal uses first discovered by indigenous peoples of the Mojave, Sonoran, and Chihuahuan regions. People local to these areas associate the smell of creosote with desert rain.</span></span></p><p style="margin: 1rem 0px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="background-color: white;"><span style="font-family: arial;">The largest work in the exhibition, <em style="overflow-wrap: break-word;">Chaparral, </em>creosotes’ common name, is a dreamy desert landscape spanning over sixteen feet in length. Large fluffy clouds loom above dry mountains and creosote forms in various stages of bloom dance across the canvas.</span></span></p><p style="margin: 1rem 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="background-color: white;"><span style="font-family: arial;">These works are an attempt at a reparative dialogue with the land and complicated histories both personal and collective. </span></span></p><p style="font-family: aktiv-grotesk; margin: 1rem 0px 0px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="background-color: white;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-edq7y-j7fBM/YQC23fYh7OI/AAAAAAAAVIQ/DdTfofhuTb85O63BuQ6xXYJEH524e1DmACLcBGAsYHQ/s1737/IMG_5520.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1737" data-original-width="1374" height="640" src="https://1.bp.blogspot.com/-edq7y-j7fBM/YQC23fYh7OI/AAAAAAAAVIQ/DdTfofhuTb85O63BuQ6xXYJEH524e1DmACLcBGAsYHQ/w506-h640/IMG_5520.jpg" width="506" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lcCdUK-vdHY/YQC2yz62RHI/AAAAAAAAVII/nKcUEdVKbKEQqzOmFHsPSj8tn_np4ikBgCLcBGAsYHQ/s2016/IMG_5519.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-lcCdUK-vdHY/YQC2yz62RHI/AAAAAAAAVII/nKcUEdVKbKEQqzOmFHsPSj8tn_np4ikBgCLcBGAsYHQ/w480-h640/IMG_5519.jpg" width="480" /></a></div><p><u><br /></u></p><p><u><span style="font-family: arial;">About the artist:</span></u></p><p><span style="background-color: white;"><span style="font-family: arial;"><strong style="overflow-wrap: break-word; white-space: pre-wrap;">Justine Rivas</strong><span style="white-space: pre-wrap;"> (b. 1991) grew up in Phoenix, Arizona. Her recent work is at the intersection of observational painting and studio knowledge. She is interested in understanding relationships to and through connections to the desert land. Justine is a current MFA candidate at UCLA.</span></span></span></p><br /><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-s493vPYBRks/YQC23dJ-NYI/AAAAAAAAVIM/ExZvONd2MZsyWzTic3lBb-8snGCrGnugwCLcBGAsYHQ/s1512/IMG_5521.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-s493vPYBRks/YQC23dJ-NYI/AAAAAAAAVIM/ExZvONd2MZsyWzTic3lBb-8snGCrGnugwCLcBGAsYHQ/w640-h640/IMG_5521.jpg" width="640" /></a></div><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SD7FZ_x-9EQ/YQC25275GvI/AAAAAAAAVIU/JbQb_g-9KkoPArxiywGKs5etBQdIcIG9gCLcBGAsYHQ/s1512/IMG_5522.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-SD7FZ_x-9EQ/YQC25275GvI/AAAAAAAAVIU/JbQb_g-9KkoPArxiywGKs5etBQdIcIG9gCLcBGAsYHQ/w640-h640/IMG_5522.jpg" width="640" /></a></div><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JZVKHFZsK9E/YQC28Gjt3QI/AAAAAAAAVIg/OF8BL7YfatQIN9vbYPuwG00Z8Lt397vqQCLcBGAsYHQ/s1512/IMG_5523.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-JZVKHFZsK9E/YQC28Gjt3QI/AAAAAAAAVIg/OF8BL7YfatQIN9vbYPuwG00Z8Lt397vqQCLcBGAsYHQ/w640-h640/IMG_5523.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;">*All photos <span face="Roboto, arial, sans-serif" style="background-color: white; color: #4d5156; font-size: 14px; text-align: left;">©</span> the blog author except where indicated.</div><p></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-86726099668378425832021-07-12T09:20:00.005-07:002021-07-13T20:28:58.960-07:00Santa Fe: High Desert High! at Smoke the Moon<p> <br /><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-eYN3PQ-Wf9w/YOuB2Wof7eI/AAAAAAAAVC8/cPwmpRRT7ukGAdpqgdw7Cb7mZ86cDVlVQCLcBGAsYHQ/s2016/IMG_5794.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-eYN3PQ-Wf9w/YOuB2Wof7eI/AAAAAAAAVC8/cPwmpRRT7ukGAdpqgdw7Cb7mZ86cDVlVQCLcBGAsYHQ/w480-h640/IMG_5794.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jon Cowan, I Saw the End, 2021, oil and acrylic on canvas, 12 x 10 in.</td></tr></tbody></table><br /><br /><div>For my first post in quite a while, I wanted to present a photo essay of a recent show in Santa Fe. <div><br /></div><div><i>High Desert High!</i> at <b>Smoke the Moon </b>features work by 22 artists from LA to London and many places in between and is billed as "A summer salon of important paintings celebrating the Dez."</div><div><br /></div><div>In much of the work presented here, there is a strange sense of spare tranquility punctuated by an underlying sense of expectation (<span style="text-align: center;"><b><a href="https://aryotohdjojo.com/" target="_blank">Aryo Toh Djojo</a></b>, and <b><a href="https://www.willbruno.com/" target="_blank">Will Bruno</a></b> to name two)</span>.</div><div><br /></div><div>While <b><a href="https://www.instagram.com/ratteface/?hl=en" target="_blank">Rat Face</a></b>, a painter from the U.K. uses an economical palette to depict deftly rendered scenes of futile desperation and dark humor. </div><div>There is a conceptual complexity in her piece, <i>Head in the Sand</i> as well as in the always sublime work of <b><a href="https://www.joncowanstudio.com/" target="_blank">Jon Cowan</a></b>. Both present us with a glimmer of a somber uncertainty (or certainty) that sets their painting apart from much of the vibrant, humorously cool and laid-back work in the show.</div><div><br /></div><div>In addition to the artists mentioned above, I want to take note of <a href="http://www.lydiamariapfeffer.com/" target="_blank"><b>Lydia Maria Pfeffer</b></a>'s strange and playful painting <i>Lucy's Ice Cream</i> as well as her surreally intimate and fun series of Pink Lizzard drawings.</div><div><br /></div><div>The energy and attention to craft of all the artists and the curation- the way all of the works interacted with one another- made this an exciting and welcome event and I'm looking forward to the next offering from this new and soon-to-be important space.</div><div><br /></div><div>Info:</div><div><br /></div><div>High Desert High!</div><div><br /></div><div><a href="https://www.instagram.com/smokethemoon/" target="_blank">Smoke the Moon</a></div><div>101 West Marcy Street</div><div>Suite 203</div><div>Santa Fe, NM</div><div><br /></div><div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wqmJWz43jBE/YOuEeY-C1tI/AAAAAAAAVE0/8oSeoJQ1zYE1iIT1qAGr0wnl25JcB6v0wCLcBGAsYHQ/s1626/IMG_5791.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1340" data-original-width="1626" height="528" src="https://1.bp.blogspot.com/-wqmJWz43jBE/YOuEeY-C1tI/AAAAAAAAVE0/8oSeoJQ1zYE1iIT1qAGr0wnl25JcB6v0wCLcBGAsYHQ/w640-h528/IMG_5791.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rat Face, Head in the Sand, 2021, acrylic on wood, 9 x 11.25 in.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-zMqfOwpnEFY/YOuEd5HxEII/AAAAAAAAVEs/jYtNrXCIBgYZg2O-80XZXdlUE0D6yduVgCLcBGAsYHQ/s1969/IMG_5792.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1969" data-original-width="1312" height="640" src="https://1.bp.blogspot.com/-zMqfOwpnEFY/YOuEd5HxEII/AAAAAAAAVEs/jYtNrXCIBgYZg2O-80XZXdlUE0D6yduVgCLcBGAsYHQ/w426-h640/IMG_5792.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Aryo Toh Djojo, Granny Panties, 2021, acrylic on canvas over panel, 11 x 14 in.<br />Aryo Toh Djojo, Lotaburger, 2021, acrylic on canvas over panel, 11 x 14.5 in.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-YyfzA0PAkQo/YOuEd5I1l4I/AAAAAAAAVEw/wXqxZ7AIWKo1FLf0OEHOOhHEd8f0-uH1gCLcBGAsYHQ/s1910/IMG_5795.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1910" data-original-width="1404" height="640" src="https://1.bp.blogspot.com/-YyfzA0PAkQo/YOuEd5I1l4I/AAAAAAAAVEw/wXqxZ7AIWKo1FLf0OEHOOhHEd8f0-uH1gCLcBGAsYHQ/w470-h640/IMG_5795.jpg" width="470" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Will Bruno, After the Deluge, 2021, oil on canvas and artists frame, 24 x 18 in.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-NHC_2EBis5g/YOuEq2zpmwI/AAAAAAAAVFA/ZDbkBwq2qD4N_q3i_jRPdHUDXONYx4z8wCLcBGAsYHQ/s2016/IMG_5796.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-NHC_2EBis5g/YOuEq2zpmwI/AAAAAAAAVFA/ZDbkBwq2qD4N_q3i_jRPdHUDXONYx4z8wCLcBGAsYHQ/w480-h640/IMG_5796.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paige Turner-Uribe, Buzzard Land (detail), 2019, oil on canvas, 22 x 18 in.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-fJ7cdvV-0qQ/YOuEjwxGPHI/AAAAAAAAVE4/1uDrR3zjnFQjyy2t8IknAAk-GrCB7WVVgCLcBGAsYHQ/s2016/IMG_5797.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-fJ7cdvV-0qQ/YOuEjwxGPHI/AAAAAAAAVE4/1uDrR3zjnFQjyy2t8IknAAk-GrCB7WVVgCLcBGAsYHQ/w480-h640/IMG_5797.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Danielle Winger, The Mommy Tree, 2021, oil on panel, 16 x 12 in.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bui0LOauV0s/YOuEpM6cjxI/AAAAAAAAVE8/GmRwRIJXD_E6HqYRh3ym0CBxy27dlkocgCLcBGAsYHQ/s2016/IMG_5798.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-bui0LOauV0s/YOuEpM6cjxI/AAAAAAAAVE8/GmRwRIJXD_E6HqYRh3ym0CBxy27dlkocgCLcBGAsYHQ/w480-h640/IMG_5798.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jon Cowan, Two Voids Rising and Setting on a Dark Octagonal Track, 2021, oil and acrylic on linen over panel, 10 in. octagon.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6BTzdkHywbM/YOuErL1U31I/AAAAAAAAVFE/ks7G-Z24MG0gAaTAmXTbw80RM_z3K773QCLcBGAsYHQ/s1499/IMG_5799.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1303" data-original-width="1499" height="556" src="https://1.bp.blogspot.com/-6BTzdkHywbM/YOuErL1U31I/AAAAAAAAVFE/ks7G-Z24MG0gAaTAmXTbw80RM_z3K773QCLcBGAsYHQ/w640-h556/IMG_5799.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lydia Maria Pfeffer, Lucy's Ice Cream, 2021, oil on canvas.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-MMN9l-Qh6pY/YOuEw8L1CvI/AAAAAAAAVFM/O1JzVrnc1F44ZhalwPTj0EPhRvTr6QxBwCLcBGAsYHQ/s2016/IMG_5803.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1512" data-original-width="2016" height="480" src="https://1.bp.blogspot.com/-MMN9l-Qh6pY/YOuEw8L1CvI/AAAAAAAAVFM/O1JzVrnc1F44ZhalwPTj0EPhRvTr6QxBwCLcBGAsYHQ/w640-h480/IMG_5803.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Alex Cutler, Angus, 2021, graphite and colored pencil on paper, 17 x 21 in.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-jc7FKJQ8Qj0/YOuEzq1ntDI/AAAAAAAAVFY/mZF_Jld8Z8IYLmFaYRYfCjNE9vA8p3LwwCLcBGAsYHQ/s2016/IMG_5805.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1512" data-original-width="2016" height="480" src="https://1.bp.blogspot.com/-jc7FKJQ8Qj0/YOuEzq1ntDI/AAAAAAAAVFY/mZF_Jld8Z8IYLmFaYRYfCjNE9vA8p3LwwCLcBGAsYHQ/w640-h480/IMG_5805.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Matthew Rosenquist, Maynard Dixon Van, 2021, acrylic on carved wood, 15 x 5.5 x 6 in.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-NbLGBhMUoxs/YOuExoZeSqI/AAAAAAAAVFQ/pjUMdBqmrP42l7VtidRNpKwGh2J4qDKeQCLcBGAsYHQ/s2016/IMG_5806.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2016" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-NbLGBhMUoxs/YOuExoZeSqI/AAAAAAAAVFQ/pjUMdBqmrP42l7VtidRNpKwGh2J4qDKeQCLcBGAsYHQ/w480-h640/IMG_5806.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Devon Clapp, Terminal Beach (detail), 2019, oil on canvas, 24 x 18 in.<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-hoyA5-lPgv4/YOuE2QOqJkI/AAAAAAAAVFc/J3NPxYcCRccEJv9s3sdBpn0weKKnFMDgACLcBGAsYHQ/s1512/IMG_5809.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1512" data-original-width="1512" height="640" src="https://1.bp.blogspot.com/-hoyA5-lPgv4/YOuE2QOqJkI/AAAAAAAAVFc/J3NPxYcCRccEJv9s3sdBpn0weKKnFMDgACLcBGAsYHQ/w640-h640/IMG_5809.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Javi Ramirez, I'm Back, what I miss?, 2021, acrylic on canvas over panel, 36 x 36 in.<br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rqlrAkjHS9o/YO5WyogsXOI/AAAAAAAAVGM/UllxF_UwKYYBYABNoMaZCgJe-N9A1YPtgCLcBGAsYHQ/s828/213674872_307732414385677_3627332790005991829_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="828" data-original-width="828" height="640" src="https://1.bp.blogspot.com/-rqlrAkjHS9o/YO5WyogsXOI/AAAAAAAAVGM/UllxF_UwKYYBYABNoMaZCgJe-N9A1YPtgCLcBGAsYHQ/w640-h640/213674872_307732414385677_3627332790005991829_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://www.juliaschwartzart.com/" target="_blank">Julia Schwartz</a>, Aurora, 2011, oil on canvas, 12 x 12 in.</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><br /><a href="https://1.bp.blogspot.com/-TDrir-DPVqo/YOuE5VvBAzI/AAAAAAAAVFg/VzG_2FrBvwgmbIbsEaKl9EeX56YWbGNBwCLcBGAsYHQ/s2016/IMG_5810.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1512" data-original-width="2016" height="480" src="https://1.bp.blogspot.com/-TDrir-DPVqo/YOuE5VvBAzI/AAAAAAAAVFg/VzG_2FrBvwgmbIbsEaKl9EeX56YWbGNBwCLcBGAsYHQ/w640-h480/IMG_5810.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Smoke the Moon is located one block north of the Plaza on W MarcyStreet between Lincoln and Washington.</td></tr></tbody></table></td></tr></tbody></table><br /><br /><p><br /></p></div><br /></div>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-88785698289789932022020-11-12T06:00:00.089-07:002020-11-12T06:00:06.676-07:00Let the Painting Build Itself: An Interview with Brooklyn Based Painter David Pollack<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-eGGBPJdSJZU/X6xbbJEZa2I/AAAAAAAAUxU/pNMrwxiEMwwjrakVDkR1VlzH4ZVqc2MrQCLcBGAsYHQ/s720/72986363_2150692065227610_8797927677618028544_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="720" height="480" src="https://1.bp.blogspot.com/-eGGBPJdSJZU/X6xbbJEZa2I/AAAAAAAAUxU/pNMrwxiEMwwjrakVDkR1VlzH4ZVqc2MrQCLcBGAsYHQ/w640-h480/72986363_2150692065227610_8797927677618028544_n.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-family: times;">David Pollack with paintings from his Harbor series, in his studio in Red Hook, Brooklyn. <br />Photo: Denise Sfraga</span><br /></td></tr></tbody></table><br /></p><p><span style="font-family: arial; font-size: large;"><br /></span></p><p><span style="font-family: times; font-size: large;"><b>Let the Painting Build Itself: An Interview with David Pollack</b></span></p><p><span style="font-family: times; font-size: medium;">by Paul Behnke</span></p><p><span style="font-family: arial; font-size: medium;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><b>Paul Behnke:</b> Well, let's start at the beginning. Would you talk a little about your background? What set you on the path your work is on? You have gone through several overlapping stages since I've been acquainted with your work.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><b>David Pollack:</b> Growing up my dad was a landscape architect but I think he wanted to be a painter too. He was an amazing draftsman and could draw anything. So, that's where my tree imagery comes from. He used to draw trees all the time and they used to hang in my house.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;">And he actually received a Rome Prize where you go to Rome for a year and they give you a studio set up.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><b>PB:</b> That's the prize Philip Guston was awarded. Right?</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><b>DP: </b>That's what I was about to say. Guston was there when my dad was there.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;">So I was around it as a kid and I tried to draw like him. I would draw on anything; TV Guides- I would just doodle all over.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;">Then after high school, I wasn't very academic but I was always really good at art so I started thinking about going to art school. And in between my junior and senior years, I went to the Vermont Studio Center.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><b>PB: </b>And when you got into art school: was that in New York or Boston?</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><b>DP: </b>That was in Boston, north of Boston. They had some really great teachers there and it was actually started by a bunch of Hofmann students. So we were learning all about plastic space and they had us draw from the figure so it was kind of a classical training. A lot of color theory!</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: times; font-size: medium;"><b>PB:</b> And then you went to Vermont?</span></div><span style="font-size: medium;"><br /><b>DP:</b> <span style="font-family: times;">Yeah, I went to Vermont, and that kind of solidified me wanting to be a painter. Came back to my senior year then worked at the Vermont Studio Center for about a year after that. Right out of college and then came down to New York.</span></span></div><span style="font-size: medium;"><br /><b>PB:</b> Had you always thought of New York as a place you wanted to go to make art? What led you tthere?</span><p></p><p><span style="font-size: medium;"><b>DP:</b> Well, that's where the painters that I was interested in, and in learning from, were living. So, that's why I came here. It was also that I was at an age where I was like, "If you don't do it now you might never do it." </span></p><p><span style="font-size: medium;"><b>PB:</b> How old were you then?</span></p><p><span style="font-size: medium;"><b>DP:</b> I'm going to say around 24 or 25.</span></p><p><span style="font-size: medium;"><b>PB:</b> What was your work like when you got out of school?</span></p><p><span style="font-size: medium;"><b>DP:</b> In school I worked my way through the classical figure thing to abstract expressionism. You know, I was painting these huge paintings. It was the late 80s and everybody was painting large- a Neo Expressionist kind of thing.</span></p><p><span style="font-size: medium;">I'll tell you who got me off of that - do you know the painter Andrew Forge? Well, I met his wife, Ruth Miller who also taught at the Studio School and had been friends with Resnick and all of the later abstract expressionists - she was a little younger.</span></p><p><span style="font-size: medium;">Anyway, Andrew ran the program at Yale for a little while and he was doing these dot paintings - kind of like big landscapes. Not that you would read them as landscapes visually, but they had that feel - the way you walk through them.</span></p><p><span style="font-size: medium;">That way of painting really hit me. He did a crit with me and one of the first things he said was, "How do you start a painting?" It was just a simple question but it made me think, and knowing how he painted at the time - it was like. "Yeah. Slow down."</span></p><p><span style="font-size: medium;">And that really started the paintings that you know. I've stayed on that from my 20s until now.</span></p><p><span style="font-size: medium;"><b>PB:</b> So you met Forge in Vermont? </span></p><p><span style="font-size: medium;"><b>DP: </b>Yeah, I met him in Vermont and Ruth brought him over to my studio. Then about a year later he came back and did another critique with me. In between those visits, I had seen a lot of his paintings and fell in love with the way he worked.</span></p><p><span style="font-size: medium;">Between Forge and John Walker, who I also worked with in Vermont, and Bernie Chaet who was another Yale guy. Chaet was really into process and materials. He did these great little landscape paintings. And Marjorie Portnow - do you know her work - small landscapes. kind of Rakstraw Downesish?</span></p><p><span style="font-size: medium;">When I first came to New York I subleased her place for almost a year. We had become friends in Vermont and she was going off somewhere so she gave me a really good deal on rent. The place was on Vestry Street in Tribeca across the street from Marisol so I got to meet her - she was great. Robert Willson lived on the floor below me. It was this great old artist building. John Chamberlain was there before I arrived. There was a rumor his son had almost burnt down the building at one point. It was just this old school artists' building, So, I really felt part of the art world when I came here.</span></p><p><span style="font-size: medium;"><b>PB:</b> It was great that you had a few connections and friends through Vermont that helped ease you into the New York scene.</span></p><p><span style="font-size: medium;"><b>DP:</b> Oh, very much so. Yeah. </span></p><p><br /></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-mvP9XvIzLiA/X6zDLcWAMaI/AAAAAAAAUx0/gd36XJYO07Mt27MLhOEz2lzOvIBHHGH3wCLcBGAsYHQ/s1031/Screen%2BShot%2B2020-11-09%2Bat%2B8.14.11%2BPM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1031" data-original-width="1006" height="640" src="https://1.bp.blogspot.com/-mvP9XvIzLiA/X6zDLcWAMaI/AAAAAAAAUx0/gd36XJYO07Mt27MLhOEz2lzOvIBHHGH3wCLcBGAsYHQ/w624-h640/Screen%2BShot%2B2020-11-09%2Bat%2B8.14.11%2BPM.png" width="624" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">David Pollack, <i>Three Last Days of March / Spring's Whisper</i>, 2014, oil on panel, 15 x 14 in.<br /></td></tr></tbody></table><p><br /></p><p><br /></p><p><span style="font-size: medium;"><b>PB:</b> When I first became aware of your work you were doing the pointilist paintings (for lack of a better description).</span></p><p><span style="font-size: medium;"><b>DP:</b> Yeah, that's the work that started with Andrew.</span></p><p><span style="font-size: medium;"><b>PB:</b> But you were also doing some figurative work - portraits?</span></p><p><span style="font-size: medium;"><b>DP:</b> Yeah. I did a few self portraits then started a group of portraits of my friend, Hiro. I think I did about ten of them. It was a fun series; getting back into the figure. Stuff like that is always great because it reminds you how to see.</span></p><p><br /></p><p style="text-align: center;"><i><span style="font-size: large;"><b>I learned that</b></span></i></p><p style="text-align: center;"><i><span style="font-size: large;"><b>painting was about everything.</b></span></i></p><p style="text-align: center;"><br /></p><p><span style="font-size: medium;">A lot of times when I'm working on a painting I get studk. I start to feellike they aren't real - like I'm trying to paint my own paintings and it's not something that's just coming out. That's when I'll go and draw or make some watercolors. </span></p><p><span style="font-size: medium;">That's how the Harbor Series started but I always seem to come back to abstraction. I've always found drawing through color - finding how color draws the object. That's how I learned; the old Hans Hofmann way of finding all of the planes. You know? I was always a better draftsman when stuff was coming out of my head than from an actual, physical subject.</span></p><p><span style="font-size: medium;">If I'm looking at something I see too much. I see the subject, but I also see what's next to it, what's next to that - what's on top of it. I learned that painting was about everything. That's the way it is with the pointilist work. You can't just lay down a ground and place a dot on it. Every dot of color has to be as important as the next. Every part of the painting has to be thought out.</span></p><p><span style="font-size: medium;"><b>PB:</b> It all relates.</span></p><p><span style="font-size: medium;"><b>DP:</b> Relates, yeah but as far as process goes it's just not enough to put one dot here and another there. Every morsel has to be considered, figured out or touched. Where with a drawing I can put a tree in the middle of the paper with no thought to what's around it.</span></p><p><span style="font-size: medium;"><b>PB:</b> When you concentrate on the single object from your head - is that a more intense way of depicting what you are thinking? A more focused expression?</span></p><p><span style="font-size: medium;"><b>DP:</b> When I started this I was thinking a lot about minimalism in a maxium way - or post minimalism. It's a way of taking me out of it. Who am I to decide what the painting is supposed to look like as opposed to letting the painting build itself?</span></p><p><span style="font-size: medium;">And I always thought the best way to build it was piece by piece by piece. Then I realized that if I were just to put dots of color over dots of color the painting would start to build itself.</span></p><p><span style="font-size: medium;">So blue dots, red dots, and yellow dots - then do that again and again until the painting tells you to put down green dots. It starts to think on its own. It's like raising a kid. You have to feed it until it learns to feed itself. Then it says I want green. Then it starts to really get smart - it becomesa don't touch me here, touch me there kind of a thing.</span></p><p><span style="font-size: medium;">So when I think about how I do build a painting - that's my relationship to it and that's how I've found it over the years. Like you are raising the painting to go off on its own in the world - to have its own consciousness.</span></p><p><span style="font-size: medium;"><b>PB: </b>The most interesting painters I know have stumbled onto their own, personal way of building a painting.</span></p><p><span style="font-size: medium;"><b>DP:</b> I love that I start every painting the same way but they all come out different and end up with their own personalities. Even the Harbor ones - I start them at the bottom with the same color and they all grow seperately.</span></p><p><span style="font-size: medium;"><b>PB:</b> To switch gears a little bit - I wonder how important nature and poetry are to the way you conceive of the work.</span></p><p><span style="font-size: medium;">I think of poetry as a zeroing in on an experience that would be relateable to the reader - presenting that experience in a quickened, more intensified way. That's the way I read your work.</span></p><p><span style="font-size: medium;"><b>DP:</b> That's a reason that I chose to work with the dots. It's a simplification. There is nothing more simple than a dot of color on a surface. But if you keep repeating that simple act of placing dot by dot the painting takes over and you don't have to worry about narrative but the experience is there.</span></p><p><span style="font-size: medium;"><b>PB: </b>So do you see the finished dot works as tied to, or somehow depicting, nature or is it just paint on a surface?</span></p><p><br /></p><p style="text-align: center;"><i><b><span style="font-size: large;">...the best way </span></b></i></p><p style="text-align: center;"><i><b><span style="font-size: large;">to see nature</span></b></i></p><p style="text-align: center;"><i><b><span style="font-size: large;">is by being as quiet as you can.</span></b></i></p><p style="text-align: center;"><i><b><span style="font-size: large;"><br /></span></b></i></p><p><span style="font-size: medium;"><b>DP:</b> That's the thing! It depends on when you ask me. It's hard to say because it's everything at once. But it's also about nothing because the only decisions that I want to make, until I'm at least three quarters through the painting, are color choices. That simplifies things. Like if you read Ad Reinhardt or Agnes Martin it's like this kind of Buddhist thing - you know - a painting is just a painting the way a dog is just a dog. So the painting grows on its own and if you leave out narrative and find the image you get to - Wow, I was able to make a painting and all I did was keep putting dots on top of dots! And towards the end my actions are more specific as to where they land and the painting becomes a little more precious. Then the painting says, 'You can go away now.'</span></p><p><span style="font-size: medium;">And back to poetry - the great thing about it is that it's just a breath - and a few perfect words come out. And that's like good painting. It's like walking inside of nature and the best way to see nature is by being as quiet as you can.</span></p><p><br /></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Fzwaouq0qHo/X6zEl10AXII/AAAAAAAAUyA/RYuo2GaABgQJROaqcxZ_di_4QqUXnHbqACLcBGAsYHQ/s1000/man%2Bfloating.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="480" src="https://1.bp.blogspot.com/-Fzwaouq0qHo/X6zEl10AXII/AAAAAAAAUyA/RYuo2GaABgQJROaqcxZ_di_4QqUXnHbqACLcBGAsYHQ/w640-h480/man%2Bfloating.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">David Pollack, <i>Summer Rainstorm (Ascend)</i>, 2020, watercolor on paper, 11 x 15 in.<br /></td></tr></tbody></table><br /><p><br /></p><p><span style="font-size: medium;"><b>PB:</b> That's a beautiful way to think about it. That idea brings me to the recent watercolors - the rainstorms, stacks of firewood and burning trees.</span></p><p><span style="font-size: medium;">Based on what you said earlier, am I right in assuming that these images come from your imagination rather than observation?</span></p><p><span style="font-size: medium;"><b>DP:</b> Yes. They are from my imagination. I think they're colser to illustrations of ideas.</span></p><p><span style="font-size: medium;"><b>PB:</b> But they still have that poetic quality; that sense of metaphor and that intensity of expression that leaves things very much open ended.</span></p><p><span style="font-size: medium;"><b>DP:</b> They're driven more by emotion and finding image through metaphor. I just know that they are more like thought. I have an idea of what I want to find in it and I'm not always successful but something else will come out that I am happy with.</span></p><p><span style="font-size: medium;">The watercolors are always trying to react to and deal with what's going on in the world around us. Maybe they are like the Jungian finding of the collective unconscious image.</span></p><p><span style="font-size: medium;"><b>PB:</b> Maybe the term metaphor is inadequate but I think the idea of transcendence can be applied. The images transcend what they are and are open ended enough to facilitate many connections.</span></p><p><span style="font-size: medium;"><b>DP:</b> I think a lot about what Farrell Brickhouse is doing. His stuff really touches me and I've been going up to visit him a lot to see what he's doing in the studio. There's something about the way he finds figures doing something - I always saw his figures as very Jungian. The images could be taken out of anywhere from anytime - like a timeless dream.</span></p><p><br /></p><p style="text-align: center;"><span style="font-size: large;"><b><i>I think it's a Jewish thing -</i></b></span></p><p style="text-align: center;"><span style="font-size: large;"><b><i>finding beauty in tragedy.</i></b></span></p><p style="text-align: center;"><br /></p><p><span style="font-size: medium;"><b>PB:</b> In relation to your work I keep thinking of the Southern artist, Walter Anderson. Only in that when he depicted the flora and fauna of Horn Island (off the coast of Mississippi) it was as if he were showing us their spirits or life energy. And I find that same cosmic autopsy of the subject in your work - it's the energy or the realness of the thing that you give us. Is this an element you think about?</span></p><p><span style="font-size: medium;"><b>DP:</b> I don't know about the watercolors because they are so new. But with the wood stacks, the trees and stone walls - well, the wood stacks had a lot to do with death - almost like pyres.</span></p><p><span style="font-size: medium;"><b>PB:</b> I think of Picasso's <i>The Charnel House</i> when I look at your wood stacks.</span></p><p><span style="font-size: medium;"><b>DP:</b> I used to see skulls in the patterns of the stone walls. And the trees, of course, always became figures. These images are layered in the watercolors too. I'm just not as sure of what they are all about yet. I'm still finding stuff when I look at them - new things all the time.</span></p><p><span style="font-size: medium;"><b>PB: </b>Is writing about your work important to your process? Do you use it to clarify ideas?</span></p><p><span style="font-size: medium;"><b>DP:</b> No. Zero. I think about the work but don't write it down so much.</span></p><p><span style="font-size: medium;"><b>PB:</b> Professors always told me writing is helpful, but I rarely do it.</span></p><p><span style="font-size: medium;"><b>DP:</b> I mean do writers paint their ideas? No! It's not like they tell writers, 'That part's okay but paint three paintings about your idea.' No. Or, 'draw me pictures of what's going on in chapter 12.' No, this <i>is</i> our language. <i>This</i> is how we write.</span></p><p><span style="font-size: medium;"><b>PB:</b> I think so too.</span></p><p><span style="font-size: medium;">When did the submerged images begin to appear in your work? One of the first timesI became aware of them was in the sobering, black and white ink drawings of trees that you made in response to the shootings, at the Tree of Life Synagogue in Pittsburg in 2018, in which eleven people were murdered and seven were wounded.</span></p><p><span style="font-size: medium;">In the drawings you placed the Star of David within the form of each tree. And it sounds like a contradiction but those drawings were such brutal and elegant reactions to that tragedy.</span></p><p><br /></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--KQNbQPEDJM/X6zFhs6QuQI/AAAAAAAAUyM/hbMY7KVuCeA9EFAMohrZkiiq25HVg6gNQCLcBGAsYHQ/s1000/IMG_20181029_100613_539.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1000" height="640" src="https://1.bp.blogspot.com/--KQNbQPEDJM/X6zFhs6QuQI/AAAAAAAAUyM/hbMY7KVuCeA9EFAMohrZkiiq25HVg6gNQCLcBGAsYHQ/w640-h640/IMG_20181029_100613_539.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;">David Pollack, Seven Trees, 2018, ink on paper, 14 x 11 in.<br /></span></td></tr></tbody></table><br /><p><br /></p><p><span style="font-size: medium;"><b>DP: </b>I think the embeded imagery had a lot to do with the <i>making art during Trump</i> thing. It's been so crazy with things like the Tree of Life shooting happening. There's a social part of me that really wants to shout about this stuff. But, there's also something in me that, as a painter, I kind of stay quiet - it's there if you want to find it in the work but I'm still making a piece of art.</span></p><p><span style="font-size: medium;">Even the new watercolors with their themes of ascension and death are saying: Yes. This shit's going on but if you got COVID or some other tragedy happened - they are saying - this is how you would be taken care of. It's going to be okay. It's helping someone pass on, as well as just commenting on the horrible act. With the ink drawings in response to the attack I was conscious of the trees being victims but still being beautiful at the same time.</span></p><p><span style="font-size: medium;">And in the new watercolors these people are passing on and there is a beauty in the storms. The idea is that wherever you're going, it will be okay. I think it's a Jewish thing - finding beauty in tragedy.</span></p><p><span style="font-size: medium;">I think it's important to make a piece of art that can stand as a quiet thing and be meditated over. Then if you want to see something else you'll find it. It gets interesting when the viewer realizes, "Oh, and he meant it to be there." </span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;">David Pollack's recent online exhibition, <i>New on Paper Since COVID-19</i>, was on view from October 11 - November 10, 2020 at <a href="https://www.monklikehabits.com/" target="_blank">Monklike Habits | online project space</a>.</span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;"><b><a href="https://davidpollackartwork.wordpress.com/" target="_blank">David Pollack</a></b> grew up in New England and has spent the last 25 years in New York City. He currently works from studios in Red Hook, Brooklyn and Upstate, NY. Pollack has shown work in numerous group exhibitions in and around New York City in venues that include SFA Projects, Life on Mars, and David and Schweitzer Contemporary. He held his first one-person show in Brooklyn, NY at Stout Projects in 2016.</span></p><p><span style="font-size: medium;"><br /></span></p><p><span style="font-size: medium;"><b><a href="https://www.paulbehnke.net/" target="_blank">Paul Behnke</a></b> was born in Memphis, TN and recieved a Bachelor of Fine Arts in painting with a minor in Art History from the Memphis College of Art. Behnke's paintings have been exhibited widely in the Unided States and internationally. His work has been reviewed in Hyperallergic Weekend, The New Criterion, and the New Republic. Behnke's writings have appeared online at AbCrit: A Forum for Debate on Abstract Art, at The Painters' Table and in print in Gamut a Southern regional arts magazine, Number Magazine, and he was the co-editor of Shad Runn an art-zine self published in Memphis,Tn. Behnke has edited Structure and Imagery: A Contemporary Art Blog since 2011 and was the co-director of Stout Projects, an exhibition space in Bushwick, Brooklyn from 2015 - 2017. Currently, he is the co-curator of Monklike Habits | online project space. Behnke is currently based in Taos, NM.</span></p><p><br /></p><p><br /></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com2Red Hook, Brooklyn, NY, USA40.6733676 -74.00831889999999212.363133763821153 -109.16456889999999 68.983601436178844 -38.852068899999992tag:blogger.com,1999:blog-6908943923710995894.post-22645622377639665372020-10-22T18:51:00.006-07:002020-10-22T18:55:45.065-07:00New in the Studio<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--IhrTlTXM6k/X5IyVKMvlyI/AAAAAAAAUwg/9OAvliuX4gkqhZnPV67rqooFoX3Vn9QCQCLcBGAsYHQ/s810/122352019_841592533245828_3166555465010540904_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="806" height="640" src="https://1.bp.blogspot.com/--IhrTlTXM6k/X5IyVKMvlyI/AAAAAAAAUwg/9OAvliuX4gkqhZnPV67rqooFoX3Vn9QCQCLcBGAsYHQ/w636-h640/122352019_841592533245828_3166555465010540904_n.jpg" width="636" /></a></div><div style="text-align: center;"><span style="font-family: times;"><b>Loverman (the Guardian), 2020, acrylic on canvas, 18 x 18 in.</b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: times; font-size: medium;">New in the studio: Small works concentrating on formal elements, dissolution of form, and broken color.</span></div><div style="text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-yQRIgIPDmQQ/X5I08-QuOUI/AAAAAAAAUw0/EuQ-r5SDCKAu2QA91ik0MictqFt-TodqACLcBGAsYHQ/s2000/4_Paul%2BBehnke_Monument%2Bto%2BClairvoyance_2020_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1513" height="640" src="https://1.bp.blogspot.com/-yQRIgIPDmQQ/X5I08-QuOUI/AAAAAAAAUw0/EuQ-r5SDCKAu2QA91ik0MictqFt-TodqACLcBGAsYHQ/w484-h640/4_Paul%2BBehnke_Monument%2Bto%2BClairvoyance_2020_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" width="484" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><b>Monument to Clairvoyance, 2020, acrylic on panel, 16 x 12 in.</b></span></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-fNcyqPBP8Bs/X5I08opOBQI/AAAAAAAAUww/EryIbH6cSDIlJWW0zBX6sPPVShw-G8WcQCLcBGAsYHQ/s2000/2_Paul%2BBehnke_Study%2Bfor%2Ban%2BImaginary%2BMonument_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1486" height="640" src="https://1.bp.blogspot.com/-fNcyqPBP8Bs/X5I08opOBQI/AAAAAAAAUww/EryIbH6cSDIlJWW0zBX6sPPVShw-G8WcQCLcBGAsYHQ/w476-h640/2_Paul%2BBehnke_Study%2Bfor%2Ban%2BImaginary%2BMonument_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" width="476" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><b>Study for an Imaginary Monument, 2020, acrylic on panel, 16 x 12 in.</b></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-F1B6Y7U0NSs/X5I06981viI/AAAAAAAAUws/gsvqtJgNYHQD3H58_10EnqXfkatD6T3vgCLcBGAsYHQ/s2000/3_Paul%2BBehnke_Dark%2BMonument_2020_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1489" height="640" src="https://1.bp.blogspot.com/-F1B6Y7U0NSs/X5I06981viI/AAAAAAAAUws/gsvqtJgNYHQD3H58_10EnqXfkatD6T3vgCLcBGAsYHQ/w476-h640/3_Paul%2BBehnke_Dark%2BMonument_2020_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" width="476" /></a></div><div style="text-align: center;"><span style="font-family: times;"><b>Dark Monument, 2020, acrylic on panel, 16 x 12 in.</b></span></div><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VE0TKPcXkBM/X5I2X5gmOdI/AAAAAAAAUxI/KaguE3xJUPsBLmfULJ7wyIh6qIoC0u3LACLcBGAsYHQ/s2000/1_Paul%2BBehnke_Monument%2Bto%2BPeople%2BWho%2BDid%2BRight_2020_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1493" height="640" src="https://1.bp.blogspot.com/-VE0TKPcXkBM/X5I2X5gmOdI/AAAAAAAAUxI/KaguE3xJUPsBLmfULJ7wyIh6qIoC0u3LACLcBGAsYHQ/w478-h640/1_Paul%2BBehnke_Monument%2Bto%2BPeople%2BWho%2BDid%2BRight_2020_acrylic%2Bon%2Bpanel_16x12%2Bin.jpg" width="478" /></a></div><div style="text-align: center;"><span style="font-family: times;"><b>Monument to People Who Did Right, 2020, acrylic on panel, 16 x 12 in.</b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: times;"><span><span style="color: red;">*</span>All works </span><span style="background-color: white; text-align: left;">© Paul Behnke </span></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div><div style="text-align: center;"><span style="font-family: times;"><b><br /></b></span></div></div><p></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com1Taos, NM 87571, USA36.4072134 -105.57337888.0969795638211579 -140.7296288 64.717447236178856 -70.4171288tag:blogger.com,1999:blog-6908943923710995894.post-38684676551654858652020-10-21T05:00:00.014-07:002020-10-21T05:00:00.820-07:00Amy Sillman: Twice Removed At Gladstone Gallery<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ERRV0PS5Hq0/X4dnhwsM8qI/AAAAAAAAUvA/0nNRBaEZoUItYX4cxKQqwSSMgNUDx3H5QCLcBGAsYHQ/s700/Screen%2BShot%2B2020-10-14%2Bat%2B2.54.49%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="561" height="640" src="https://1.bp.blogspot.com/-ERRV0PS5Hq0/X4dnhwsM8qI/AAAAAAAAUvA/0nNRBaEZoUItYX4cxKQqwSSMgNUDx3H5QCLcBGAsYHQ/w512-h640/Screen%2BShot%2B2020-10-14%2Bat%2B2.54.49%2BPM.png" width="512" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-YwQW1qic8tg/X4dnIKBhhDI/AAAAAAAAUuo/ju5wLLzihT4RGLpQ-4bTvMq23jZZjyJSQCLcBGAsYHQ/s1043/Screen%2BShot%2B2020-10-14%2Bat%2B2.56.12%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="695" data-original-width="1043" height="426" src="https://1.bp.blogspot.com/-YwQW1qic8tg/X4dnIKBhhDI/AAAAAAAAUuo/ju5wLLzihT4RGLpQ-4bTvMq23jZZjyJSQCLcBGAsYHQ/w640-h426/Screen%2BShot%2B2020-10-14%2Bat%2B2.56.12%2BPM.png" width="640" /></a></div> <br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b><span style="font-family: times; font-size: medium;">Amy Sillman: Twice Removed</span></b></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">Through November 14, 2020</span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times;"><a href="https://www.gladstonegallery.com/exhibition/6800/twice-removed/installation-views" target="_blank">web</a></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">Gladstone Gallery</span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">515 W 24th Street</span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">New Tork, NY</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><u><span style="font-family: times; font-size: medium;">From the Press Release:</span></u></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="background-color: white; letter-spacing: 0.36px; text-align: left;"><span style="font-family: times; font-size: medium;">Dear Reader,</span></span></div><p></p><div style="text-align: justify;"><p style="box-sizing: inherit; letter-spacing: 0.36px; line-height: 23px; margin: 0px 0px 1rem; padding: 0px; text-align: justify; text-rendering: optimizelegibility;"><span style="background-color: white;"><span style="font-family: times; font-size: medium;"><span style="box-sizing: inherit;"> </span><span style="box-sizing: inherit;">The time we’re living in is crazy, horrible, almost medieval with disease, increasing police brutality and militarization, diminishment of democratic rights, and the upcoming ledge of a terrifying election. I was supposed to have a show of drawings and paintings last May at Gladstone and titled it “Twice Removed”: "</span><i style="box-sizing: inherit; line-height: inherit;">twice</i><span style="box-sizing: inherit;">" to propose the idea of a multiplied subjectivity, being of two minds, forked paths, and having allegiances to both subject and object, thinking and feeling, abstraction and figuration, form and content, dialectics and contradictions; "</span><i style="box-sizing: inherit; line-height: inherit;">removed</i><span style="box-sizing: inherit;">" because my paintings are built through negation, a kind of violent erasure, scraping down, undoing, getting rid of. But </span><i style="box-sizing: inherit; line-height: inherit;">twice removed</i><span style="box-sizing: inherit;"> was also a pun on the family relation, being adjacent to something older. I’m a knight’s move away from the old tradition of gestural painting, but I’m really not trying to kill the father: I love gestural painting like it was my grandma, even though I’m skeptical, pessimistic, and sometimes critical of what she stands for. (My mom always said I was too negative.) So I was also thinking about painting as an unrolling of time—both my own genealogy and the way I wanted to unfurl paintings and drawings in long horizontal sequences around the room. I wanted the work to be like scraps and fragments, a bunch of spare parts, puzzling things dug up archeologically, arranged around the rooms of the gallery in a frieze of tangled patches. I was already thinking bleak thoughts about America, and the work looked like it: melancholy, mostly only black and white, ambiguous, often either too raw or over-cooked, ambiguous. I was trying to make a new language out of a bunch of spare parts.</span></span></span></p><p style="box-sizing: inherit; letter-spacing: 0.36px; line-height: 23px; margin: 0px 0px 1rem; padding: 0px; text-align: justify; text-rendering: optimizelegibility;"><span style="background-color: white;"><span style="font-family: times; font-size: medium;"> <span style="box-sizing: inherit;">That show was postponed due to Covid19 and will now open in late September. But the new show is an even more shaggy, complicated affair, containing all of the above plus all the new work from this agonizing spring and summer shuffled in. For much of this time, I didn’t have a painting studio, so I just drew flowers, the opulent irises, daylilies, and sunflowers that were springing up around me from bushes and trees and from the earth. As Lorraine Hansberry asked (in her 1962 play), “what use are flowers?” I was obsessed with their colors and shapes, the simple joy of observing them, and how they exude libido, healing, and rebirth, even though while I was drawing them I was wondering if we might all die. Were they funerary or optimistic? During this spring, painting itself was overshadowed by the question of whether painting-life could continue to exist at all. But after months of the flowers, they started to morph into abstractions. The flower stems looked like the legs of figures stalking around, their heads bent over in a kind of looped narrative with no particular story except growth and then withering. The world’s ground was shifting, so I started concentrating on the fields behind the figures— patterns, plaids, and confusing figure-to-grounds, a purposefully destabilized signal-to-noise ratio. And eventually, it was the process of improvisation itself that seemed the most timely and urgent. I was thinking about a quote by Fred Moten, “improvisation is making nothing out of something.” In this sense “nothing” is a good thing, it means you’re in a hole, on the brink of change, and you have to listen, to pay attention. Improvising is a process that comes from within and that proposes a without, a nowhere that is everywhere. The hard questions continue (how to keep making paintings at all, if the world can possibly be rebuilt, and how) but I hope there's an alchemy in there, a use, in keeping on working with the motion between the known and an abstract (but felt) unknown.</span></span></span></p><p style="box-sizing: inherit; letter-spacing: 0.36px; line-height: 23px; margin: 0px 0px 1rem; padding: 0px; text-align: start; text-rendering: optimizelegibility;"></p><div style="text-align: justify;"><span style="background-color: white; font-family: times; font-size: large; letter-spacing: 0.36px;">Love,</span></div><span style="background-color: white;"><div style="text-align: justify;"><span style="font-family: times; font-size: large; letter-spacing: 0.36px;">Amy</span></div></span><p></p><div><br /></div></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-KNwALkI8EhQ/X4dnC_ycc3I/AAAAAAAAUuY/X5W6qsJOjpsDZFyqgyRmCzAbCiAY-HkEACLcBGAsYHQ/s1031/Screen%2BShot%2B2020-10-14%2Bat%2B2.54.01%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="703" data-original-width="1031" height="436" src="https://1.bp.blogspot.com/-KNwALkI8EhQ/X4dnC_ycc3I/AAAAAAAAUuY/X5W6qsJOjpsDZFyqgyRmCzAbCiAY-HkEACLcBGAsYHQ/w640-h436/Screen%2BShot%2B2020-10-14%2Bat%2B2.54.01%2BPM.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-yKyzoXK9MVU/X4dn7-0mvxI/AAAAAAAAUvQ/c3sJ0Ky2PkwDPF3ohi28wEVd_4Co0haQwCLcBGAsYHQ/s1259/Screen%2BShot%2B2020-10-14%2Bat%2B2.53.28%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="1259" height="348" src="https://1.bp.blogspot.com/-yKyzoXK9MVU/X4dn7-0mvxI/AAAAAAAAUvQ/c3sJ0Ky2PkwDPF3ohi28wEVd_4Co0haQwCLcBGAsYHQ/w640-h348/Screen%2BShot%2B2020-10-14%2Bat%2B2.53.28%2BPM.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hWxnx0vYAyo/X4dnIVvl2MI/AAAAAAAAUus/LwmWXVUq-LoAhtcWq_zWQd0MPnjEsjwDQCLcBGAsYHQ/s699/Screen%2BShot%2B2020-10-14%2Bat%2B2.56.45%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="699" data-original-width="593" height="640" src="https://1.bp.blogspot.com/-hWxnx0vYAyo/X4dnIVvl2MI/AAAAAAAAUus/LwmWXVUq-LoAhtcWq_zWQd0MPnjEsjwDQCLcBGAsYHQ/w542-h640/Screen%2BShot%2B2020-10-14%2Bat%2B2.56.45%2BPM.png" width="542" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ibX5a9JEEZQ/X4dnjXmpITI/AAAAAAAAUvE/ttIDYM_PMAYgvP_mWjrF-xWhbS6CSqrXACLcBGAsYHQ/s1022/Screen%2BShot%2B2020-10-14%2Bat%2B2.55.18%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="694" data-original-width="1022" height="434" src="https://1.bp.blogspot.com/-ibX5a9JEEZQ/X4dnjXmpITI/AAAAAAAAUvE/ttIDYM_PMAYgvP_mWjrF-xWhbS6CSqrXACLcBGAsYHQ/w640-h434/Screen%2BShot%2B2020-10-14%2Bat%2B2.55.18%2BPM.png" width="640" /></a></div><br /><br /><div><br /></div><div><br /></div><div><span style="background-color: white; font-family: times;">All images © Gladstone Gallery</span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div><div><span style="background-color: white; font-family: times;"><br /></span></div>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com2New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-6908943923710995894.post-78062601050832095112020-10-18T00:00:00.002-07:002020-10-18T00:00:06.136-07:00Patrick Graham: Interitus at Hillsboro Fine Art<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-BbaYu5XEQ6k/X4dQbWkxmjI/AAAAAAAAUuA/PFcVOoj1gOkgdggZR4OuUI5Tepm8EbWdwCLcBGAsYHQ/s1522/G1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1522" data-original-width="1439" height="640" src="https://1.bp.blogspot.com/-BbaYu5XEQ6k/X4dQbWkxmjI/AAAAAAAAUuA/PFcVOoj1gOkgdggZR4OuUI5Tepm8EbWdwCLcBGAsYHQ/w606-h640/G1.jpg" width="606" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">Self Portrait, 2020, oil on canvas, 160 x 160 cm.</span></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><b><span style="font-family: times; font-size: medium;">Patrick Graham: Interitus</span></b></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">On view through Nov 7, 2020</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">Hillsboro Fine Art</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">49 Parnell Square West</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">Dublin, Ireland</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;">(<a href="http://www.hillsborofineart.com/?si=6" target="_blank">web</a>) <a href="https://www.facebook.com/Hillsboro-Fine-Art-116267238425823" target="_blank">Facebook</a> <a href="https://www.instagram.com/hillsborofineart/" target="_blank">Instagram</a></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rMjsi_dD24c/X4dQZyYUosI/AAAAAAAAUt8/RV6Aymu2D-4nuNl1pxLd5MGLy10zX79HACLcBGAsYHQ/s1848/G3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1224" data-original-width="1848" height="424" src="https://1.bp.blogspot.com/-rMjsi_dD24c/X4dQZyYUosI/AAAAAAAAUt8/RV6Aymu2D-4nuNl1pxLd5MGLy10zX79HACLcBGAsYHQ/w640-h424/G3.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">Installation view, Hillsboro Fine Art, Dublin.</span></div><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Bv5qw6R114E/X4dQWaEfArI/AAAAAAAAUt4/Oo46f8h_Vm4t6gaFV8VCBSlH2BR81o7twCLcBGAsYHQ/s1808/G2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1197" data-original-width="1808" height="424" src="https://1.bp.blogspot.com/-Bv5qw6R114E/X4dQWaEfArI/AAAAAAAAUt4/Oo46f8h_Vm4t6gaFV8VCBSlH2BR81o7twCLcBGAsYHQ/w640-h424/G2.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">Installation view, Hillsboro Fine Art, Dublin.</span></div><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/52xvWBzNVw0" width="320" youtube-src-id="52xvWBzNVw0"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><span style="font-family: times;">Patrick Graham: Thirty Years - The Silence Becomes the Painting</span></div><div style="text-align: center;"><span style="font-family: times;">A Film by <a href="https://www.huffpost.com/author/victorpond123-149" target="_blank">Eric Minh Swenson</a></span></div><div style="text-align: center;"><span style="font-family: times;"><br /></span></div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-9197681177805725162020-10-16T05:00:00.002-07:002020-10-16T05:00:05.579-07:00Jullian Schnabel at PACE<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0g9UKMioj38/X4c1fVcZ5iI/AAAAAAAAUtI/AX5ZKNTMFbIC9FuqTVm0afLyS-EMA6cgwCLcBGAsYHQ/s1800/SCHNABEL_inst_20200918_v08.max-1800x1800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1012" data-original-width="1800" height="360" src="https://1.bp.blogspot.com/-0g9UKMioj38/X4c1fVcZ5iI/AAAAAAAAUtI/AX5ZKNTMFbIC9FuqTVm0afLyS-EMA6cgwCLcBGAsYHQ/w640-h360/SCHNABEL_inst_20200918_v08.max-1800x1800.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><span style="text-align: start;">Installation view, </span><i style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: start; vertical-align: baseline;">Julian Schnabel: The Sad Lament of the Brave, Let the Wind Speak and Other Paintings,</i><span style="text-align: start;"> Sep 18 – Oct 24, 2020, Pace Gallery, New York © Julian Schnabel</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><span style="text-align: start;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><span style="text-align: start;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;">Julian Schnabel: The Sad Lament of the Brave, Let the Wind Speak and Other Paintings</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;">Through October 24, 2020</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;">PACE </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;">510 W 25th Street</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;">New York, NY</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="text-align: start;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="text-align: start;">(<a href="https://www.pacegallery.com/exhibitions/julian-schnabel-20/" target="_blank">web</a>)</span></span></div><p></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-6908943923710995894.post-4023299809448010982020-10-14T10:53:00.001-07:002020-10-14T10:55:23.320-07:00Jeffrey Morabito: Open Studio<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-KdmZEacFuCI/X4c3j16XLWI/AAAAAAAAUtU/v9BcaOi5f8obkv8fp_pGQC8NKGVWMFtCQCLcBGAsYHQ/s1799/121575307_10158671411340428_8240408516111343675_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1799" data-original-width="1440" height="640" src="https://1.bp.blogspot.com/-KdmZEacFuCI/X4c3j16XLWI/AAAAAAAAUtU/v9BcaOi5f8obkv8fp_pGQC8NKGVWMFtCQCLcBGAsYHQ/w512-h640/121575307_10158671411340428_8240408516111343675_o.jpg" width="512" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">Jeffrey Morabito, My Name is Jack,</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">Part of the Lost Pet Series begun during the COVID-19 lockdown.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><a href="https://www.jeffreymorabito.com/" target="_blank">Jeffrey Morabito</a>: Open Studio </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><span style="color: red;">By Appointment Only<br /></span><br />Fri, Sat and Sun, Oct. 16th - 18th, 2020<br /><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; text-align: start; white-space: pre-wrap;"><span style="font-family: times; font-size: medium;">Please dm to <a href="https://www.instagram.com/morabitostudio/" target="_blank">RVSP</a>. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; text-align: start; white-space: pre-wrap;"><span style="font-family: times; font-size: medium;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; font-family: times; font-size: large; text-align: start; white-space: pre-wrap;">A limited amount of people are allowed in at a time. </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; font-family: times; font-size: large; text-align: start; white-space: pre-wrap;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; text-align: start; white-space: pre-wrap;"><span style="font-family: times; font-size: medium;">A mask must be worn. </span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; text-align: start; white-space: pre-wrap;"><span style="font-family: times; font-size: medium;">Hand sanitizer provided.</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; text-align: start; white-space: pre-wrap;"><span style="font-family: times; font-size: medium;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; text-align: start; white-space: pre-wrap;"><span style="font-family: times; font-size: medium;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; text-align: start; white-space: pre-wrap;"><span style="font-family: times; font-size: medium;"><br /></span></span></div><p></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0Brooklyn, NY, USA40.6781784 -73.944157912.367944563821155 -109.1004079 68.988412236178846 -38.787907899999993tag:blogger.com,1999:blog-6908943923710995894.post-13350496851371732282020-10-14T10:02:00.006-07:002020-10-14T10:15:17.709-07:00David Pollack: New on Paper Since COVID-19 at Monklike Habits | online project space<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-EX5MfeWG3Cw/X4csjH_WHtI/AAAAAAAAUs8/HBEkiu8BxM4xBpBSlcdiBHwH1SS-2vJzgCLcBGAsYHQ/s987/Screen%2BShot%2B2020-10-14%2Bat%2B10.50.07%2BAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="987" height="466" src="https://1.bp.blogspot.com/-EX5MfeWG3Cw/X4csjH_WHtI/AAAAAAAAUs8/HBEkiu8BxM4xBpBSlcdiBHwH1SS-2vJzgCLcBGAsYHQ/w640-h466/Screen%2BShot%2B2020-10-14%2Bat%2B10.50.07%2BAM.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">David Pollack, Summer Rainstorm (Ascend) 2020, watercolor on paper, 11 x 15 in.</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><b style="font-family: times; font-size: large;"><br /></b></div><div class="separator" style="clear: both; text-align: justify;"><b style="font-family: times; font-size: large;"><br /></b></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times;"><span style="font-size: medium;">David Pollack: New on Paper Since COVID-19</span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">October 11 - November 10, 2020</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">Monklike Habits | online project space</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: times; font-size: medium;">(<a href="https://www.monklikehabits.com/covid19" target="_blank">view</a>)<br /><br /><u>From the Press Release:</u></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; font-family: times; white-space: pre-wrap;"><span style="font-size: medium;"><br /></span></span></div><div class="separator" style="clear: both; text-align: justify;"><span style="background-color: white; font-family: times; white-space: pre-wrap;"><span style="font-size: medium;">"The new work presented here is a response to, and an interpretation of, nature and the awesome sway it exerts on us. These modest and elegiac watercolors allude to a feeling of beautiful helplessness that we often experience in response to the seemingly arbitrary acts of nature, and by extension, to our times.</span></span></div><p></p><div class="separator" style="clear: both; text-align: justify;"><p style="margin: 1rem 0px; overflow-wrap: break-word; text-align: justify; white-space: pre-wrap;"><span style="background-color: white;"><span style="font-family: times; font-size: medium;">But the paintings also support an underlying humanity - a joining with (in death?), or perhaps a transcendence from, an irrational, subjective megacosm. This ingredient, more than anything, confirms the poetic sensitivity in the work."
</span></span></p></div>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-82659089388061258872020-10-14T08:53:00.002-07:002020-10-14T10:15:31.232-07:00Blurring Boundaries: The Women of American Abstract Artists, 1936 - Present at South Bend Museum of Art<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-cb2cmVLIjOQ/X4ZhTNBlgGI/AAAAAAAAUso/Pxay36yN4WoEN9eElBZNqE0WSnKFyYFSwCLcBGAsYHQ/s1000/MelissaStaiger_Connection2Ways_2017_24x12in.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="740" height="640" src="https://1.bp.blogspot.com/-cb2cmVLIjOQ/X4ZhTNBlgGI/AAAAAAAAUso/Pxay36yN4WoEN9eElBZNqE0WSnKFyYFSwCLcBGAsYHQ/w474-h640/MelissaStaiger_Connection2Ways_2017_24x12in.jpg" width="474" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><span style="font-family: times;"><a href="http://www.melissastaiger.com/" target="_blank"><b>Melissa Staiger</b></a>, Connection 2 Ways, 2017, 24 x 12 in.</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-small;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-small;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xN1vJEtaoVY/X4ZfO1EIZ7I/AAAAAAAAUsc/Cxu1EU-FeKcit8vDpboMlIJOUuxhin20ACLcBGAsYHQ/s2048/Pretty%2Bin%2BPeach%2B-%2B11x14_Vertical_2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1526" height="640" src="https://1.bp.blogspot.com/-xN1vJEtaoVY/X4ZfO1EIZ7I/AAAAAAAAUsc/Cxu1EU-FeKcit8vDpboMlIJOUuxhin20ACLcBGAsYHQ/w476-h640/Pretty%2Bin%2BPeach%2B-%2B11x14_Vertical_2.jpg" width="476" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><span style="font-family: times;"><a href="https://www.singulart.com/en/artist/rhia-hurt-8711" target="_blank"><b>Rhia Hurt</b></a>, Pretty in Peach, Reflecting Pool Series, 2018, acrylic and watercolor on paper, 14 x 11 in.</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-small;"><br /></span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-small;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-2ZEqZBFjhcM/X4ZiHsl06bI/AAAAAAAAUsw/Smx6HjVH8xMWUCz3CFQ0LXKGxahMjf_TACLcBGAsYHQ/s1500/lee_krasner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1154" data-original-width="1500" height="492" src="https://1.bp.blogspot.com/-2ZEqZBFjhcM/X4ZiHsl06bI/AAAAAAAAUsw/Smx6HjVH8xMWUCz3CFQ0LXKGxahMjf_TACLcBGAsYHQ/w640-h492/lee_krasner.jpg" width="640" /></a></div><span style="font-family: times;">Lee Krasner</span></div><div style="text-align: center;"><span style="font-family: times; font-size: x-small;"><br /><br /></span></div><div style="text-align: justify;"><span style="font-family: times;"><u><br /></u></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><b>Blurring Boundaries: The Women of American Abstract Artists, 1936-Present</b><br /><br /><a href="https://southbendart.org/see/blurring-boundaries-the-women-of-american-abstract-artists-1936-present" target="_blank">(info)</a></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">South Bend Museum of Art</span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">120 South Dr. Martin Luther King Blvd.</span></div><div style="text-align: justify;"><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">South Bend, IN 46601</span></div><div style="text-align: justify;"><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;">info@southbendart.org</span></div><div style="text-align: justify;"><span style="font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><u>From the Press release:</u></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><u><br /></u></span></div><p></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; vertical-align: baseline;"></p><div style="text-align: justify;"><span style="background-color: transparent; font-weight: 700;"><span style="font-family: times; font-size: medium;">October 17, 2020 – January 3, 2021</span></span></div><span style="background: transparent; border: 0px; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: justify;"><span style="background-color: transparent;"><span style="font-family: times; font-size: medium;">Warner Gallery</span></span></div></span><p></p><div style="text-align: justify;"><p style="background: rgb(255, 255, 255); border: 0px; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: left; vertical-align: baseline;"></p><div style="color: #464646; text-align: justify;"><span style="font-family: times; font-size: medium;">Opening Reception October 16, 2020,</span></div><div style="color: #464646; text-align: justify;"><span style="font-family: times; font-size: medium;">Donor Reception 6:00 – 7:00 p.m.</span></div><div style="color: #464646; text-align: justify;"><span style="font-family: times; font-size: medium;">Public Reception 7:00 – 9:00 p.m.</span></div><div style="text-align: justify;"><span style="color: #464646;"><span style="font-family: times; font-size: medium;"><br /></span></span></div><span style="color: #464646;"><div style="text-align: justify;"><span style="font-family: times; font-size: medium;">Artist Talk with Jamea Richmond-Edwards at 7:15 p.m.</span></div></span><p></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;">The <span style="background: transparent; border: 0px; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Robert C. Shields</span> <span style="background: transparent; border: 0px; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">American Series</span> is an annual event that shares, with our regional audience, the rich art history and culture of our nation. Represented in these exhibitions are many of the key artists and artistic movements responsible for creating an American art legacy. This will be the 13<span style="background: transparent; border: 0px; bottom: 1ex; height: 0px; line-height: 1; margin: 0px; outline: 0px; padding: 0px; position: relative; vertical-align: baseline;">th</span> year we have offered this series and it continues to gain momentum and respect in the community for the rich visual perspectives it offers on American art.</span></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;">An awe-inspiring celebration of an intergenerational group of artists—one that is both comprehensive and long overdue—<em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present</em> highlights the indelible ways in which the women of American Abstract Artists have, for more than eighty years, shifted and shaped the frontiers of American abstraction.</span></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;">The hierarchy of distilled form, immaculate line, and pure color came close to being the mantra of 1930s modern art—particularly that of American Abstract Artists (AAA), the subject of a new exhibition entitled <em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Blurring Boundaries: The Women of American Abstract Artists, 1936 – Present</em>. From the outset—due as much to their divergent status as abstract artists as to their gender—women of American Abstract Artists were already working on the periphery of the art world. In contrast to the other abstract artist collectives of the period, where equal footing for women was unusual, AAA provided a place of refuge for female artists. Through fifty-four works, Blurring Boundaries explores the artists’ astounding range of styles, including their individual approaches to the guiding principles of abstraction: color, space, light, material, and process.</span></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;">More than eighty years after its founding, AAA continues to nurture and support a vibrant community of artists with diverse identities and wide-ranging approaches to abstraction. In celebration of this tradition, <em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Blurring Boundaries: The Women of American Abstract Artists</em> traces the extraordinary contributions of the female artists within AAA, from the founders to today’s practicing members. Included are works by historic members <span style="background: transparent; border: 0px; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Perle Fine, Esphyr Slobodkina, Irene Rice Pereira, Alice Trumbull Mason,</span> and<span style="background: transparent; border: 0px; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Gertrude Greene</span>, as well as current members such as <span style="background: transparent; border: 0px; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Ce Roser, Irene Rousseau, Judith Murray, Alice Adams, Merrill Wagner, </span>and<span style="background: transparent; border: 0px; font-weight: 700; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> Katinka Mann</span>.</span></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;"><em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Blurring Boundaries: The Women of American Abstract Artists, 1936-Present</em> was organized by The Clara M. Eagle Gallery, Murray State University, Murray, KY, and the Ewing Gallery, The University of Tennessee, Knoxville, TN and is toured by International Arts & Artists, Washington, DC.</span></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;"><br /></span></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;"><br /></span></p><p style="background: rgb(255, 255, 255); border: 0px; color: #464646; line-height: 1.5em; margin: 0px 0px 15px; outline: 0px; padding: 0px; text-align: justify; vertical-align: baseline;"><span style="font-family: times; font-size: medium;"><br /></span></p><div style="text-align: justify;"><span style="font-size: medium;"><br /></span></div></div><p></p><div style="text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times; font-size: x-small;"><br /></span></div><p></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0South Bend, IN, USA41.6763545 -86.2519897999999913.366120663821157 -121.40823979999999 69.986588336178841 -51.09573979999999tag:blogger.com,1999:blog-6908943923710995894.post-20083423183261548302020-10-13T18:24:00.003-07:002020-10-14T10:15:02.193-07:00Ann Purcell: Kali Poem Series at Berry Campbell<p> <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-hIwHPBOrAmE/X4ZImJYMb5I/AAAAAAAAUrQ/l_iKRd0-ZBY5hJLE0jNKmZSVKRo5ii6LACLcBGAsYHQ/s1404/Screen%2BShot%2B2020-10-13%2Bat%2B6.25.33%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1285" data-original-width="1404" height="586" src="https://1.bp.blogspot.com/-hIwHPBOrAmE/X4ZImJYMb5I/AAAAAAAAUrQ/l_iKRd0-ZBY5hJLE0jNKmZSVKRo5ii6LACLcBGAsYHQ/w640-h586/Screen%2BShot%2B2020-10-13%2Bat%2B6.25.33%2BPM.png" width="640" /></a></div><p style="text-align: center;"><span style="font-family: times;">Kali Poem #52 (Vanishing Time ||), 1987-89</span></p><p><br /></p><p style="text-align: justify;"><b>Ann Purcell: Kali Poem Series</b></p><p style="text-align: justify;">October 15 - November 14, 2020<br /><br /><a href="https://berrycampbell.com/exhibition/123/exhibition_works/" target="_blank">view exhibition</a> | <a href="https://berrycampbell.com/exhibition/123/exhibition_press/" target="_blank">view catalog</a><br /><br />For pricing information email: info@berrycampbell.com</p><p style="text-align: justify;"><br /></p><p style="text-align: justify;">Berry Campbell</p><p style="text-align: justify;">530 W 24th Street</p><p style="text-align: justify;">New York, NY 10011</p><p style="text-align: justify;">Tuesday - Saturday, 10 am - 6 pm</p><p style="text-align: justify;">COVID-19 precautions will be observed.</p><p style="text-align: justify;"><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Sdl6vZWuge0/X4ZKIykSyRI/AAAAAAAAUr4/l1BUNdVbBXgbaRy1J-qpeUgzxivYYNAlwCLcBGAsYHQ/s1434/Screen%2BShot%2B2020-10-13%2Bat%2B6.26.50%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1196" data-original-width="1434" height="534" src="https://1.bp.blogspot.com/-Sdl6vZWuge0/X4ZKIykSyRI/AAAAAAAAUr4/l1BUNdVbBXgbaRy1J-qpeUgzxivYYNAlwCLcBGAsYHQ/w640-h534/Screen%2BShot%2B2020-10-13%2Bat%2B6.26.50%2BPM.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">Kali Poem #24, 1986</span></div><p><strong style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; font-size: 13px;"><br /></strong></p><p></p><div style="text-align: justify;"><strong style="background-color: white; box-sizing: border-box; color: #333333; font-family: times;"><span style="font-size: medium;">PRESS RELEASE</span></strong></div><span style="font-family: times;"><div style="text-align: justify;"><strong style="background-color: white; box-sizing: border-box; color: #333333;"><span style="font-size: medium;">FOR IMMEDIATE RELEASE</span></strong></div><strong style="background-color: white; box-sizing: border-box; color: #333333;"><div style="text-align: justify;"><span style="font-size: medium;"><strong style="box-sizing: border-box;">BERRY CAMPBELL GALLERY PRESENTS ANN PURCELL: KALI POEM SERIES</strong> </span></div></strong><div style="text-align: justify;"><span style="color: #333333; font-size: medium;"><br /></span></div><strong style="background-color: white; box-sizing: border-box; color: #333333;"><div style="text-align: justify;"><span style="font-size: medium;"><strong style="box-sizing: border-box;">NEW YORK, NEW YORK, SEPTEMBER 22, 2020 –</strong> Berry Campbell Gallery is pleased to announce an important exhibition curated from Ann Purcell’s “Kali Poem” series. For Purcell, the desire to achieve more spontaneity led to this series, which she started in 1983 and is ongoing. She notes: “For the first time in my work, it was not out of joy, but from some other place, some other sphere. They just seemed to appear.”</span></div></strong><div style="text-align: justify;"><span style="color: #333333; font-size: medium;"><br /></span></div><span style="background-color: white; color: #333333; font-size: medium;"><div style="text-align: justify;">However, Purcell knew they had a meaning, and the answer came to her from a poem: May Sarton’s “The Invocation to Kali,” published in <em style="box-sizing: border-box;">Poetry</em> (1971). At the time, Purcell had only read six lines of the poem and was not aware of the attribution, which later she discovered was by the acclaimed poet, May Sarton. In fact, such a hindsight recognition is perfectly in keeping with Sarton’s poem, as the poem is one of process and reckoning. In four sections, the poet and reader examine the human need to destroy. The poem’s fifth section, the “Invocation,” is an entreaty to the Hindu goddess Kali to “be with us,” in order to “bring darkness into light.” For Sarton, it is the power represented by Kali—a goddess with a seemingly terrible form who is a destroyer of evil forces and also a kind protector of the universe—that gives recognition to how we must strive to bring creation out of destruction.<a href="https://berrycampbell.com/exhibition/123/press_release/#_edn1" name="_ednref1" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;">[i]</a> These six lines of the “Invocation” had long lodged in Purcell’s mind: “Help us to be the always hopeful / Gardeners of the spirit / Who know that without darkness / Nothing comes to birth / As without light / Nothing flowers.” </div></span><div style="text-align: justify;"><span style="color: #333333; font-size: medium;"><br /></span></div><span style="background-color: white; color: #333333; font-size: medium;"><div style="text-align: justify;">Since 2013, Berry Campbell Gallery has represented Ann Purcell exclusively. Purcell is preparing for an upcoming solo exhibition at the Provincetown Art Association and Museum and will be included in a group exhibition at the American University at the Katzen Arts Center next year. “Ann Purcell: Kali Poem Series” is on view from October 15, 2020, through November 14, 2020. The gallery is open with regular fall hours, Tuesday – Saturday, 10 am – 6 pm. </div></span><div style="text-align: justify;"><span style="color: #333333; font-size: medium;"><br /></span></div><span style="font-size: medium;"><strong style="background-color: white; box-sizing: border-box; color: #333333;"><div style="text-align: justify;"><strong style="box-sizing: border-box;">ABOUT THE ARTIST</strong></div></strong><span style="background-color: white; color: #333333;"><div style="text-align: justify;">A nationally recognized artist whose abstract work is represented in museums across the United States, Ann Purcell considers the process to be a critical factor in her work. Employing both gestural and analytical approaches in her paintings, collages, and works on paper, she works within tensions of paradox, ambiguity, duality, and contradiction. Her method is related to dance—an important form for her beginning in her childhood—as well as to music, while she draws on her thorough grounding in European and American Expressionist traditions. Art history is also an important source for Purcell; she states that “one of the things that is so wonderful about art is that art history is an endless resource—one cannot consume it all. There are thousands of years of art to mine and find a challenging and supportive foundation for the artist.” In the catalog for a solo exhibition of Purcell’s work at the Corcoran Gallery, Washington, D.C. (1976), the museum’s chief curator Jane Livingston commended Purcell’s “fluidity with a vast range of idioms.” Livingston stated: “Purcell is among the most disciplined and prolific artists I have encountered: the number of fresh, sometimes startlingly brutal, sometimes exquisitely refined works she manages to create in the continually ongoing process of her production is proportionately remarkable.”<a href="https://berrycampbell.com/exhibition/123/press_release/#_edn2" name="_ednref2" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;">[ii]</a></div></span></span><div style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; outline: none; text-align: justify; text-decoration-line: none;"><a href="https://berrycampbell.com/exhibition/123/press_release/#_edn2" name="_ednref2" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;"><span style="font-size: medium;"><br /></span></a></div><span style="background-color: white; color: #333333; font-size: medium;"><div style="text-align: justify;">Purcell was born in 1941 in Washington, D.C. and raised in Arlington, Virginia. She studied independently in San Miguel de Allende, Mexico, and received her B.A. from the Corcoran College of Art and Design and George Washington University, Washington, D.C., in 1973. She went on to receive her M.A. in Liberal Studies from New York University in 1995. While finishing her degree at the Corcoran, Purcell took a summer course with Washington Color School painter Gene Davis, who became her mentor and lifelong friend. Through Davis, she met Jacob Kainen, who had been Graphic Arts curator at the Smithsonian. Purcell recalls often walking through museums in Washington, D.C. with Davis and Kainen, considering the historical context of works of art and critiquing them. Her development was also shaped by the artist’s colony at Provincetown, Massachusetts. She initially went to the Cape Cod artist’s colony in the summer of 1982 on the recommendation of E. A. Carmean, Jr., then chief curator of twentieth-century art at the National Gallery. In Provincetown, Carmean introduced her to Robert Motherwell, from whose work Purcell has drawn much inspiration. Other sources of influence for Purcell are the cutouts of Matisse and paintings by Helen Frankenthaler and Mark Rothko.</div></span><div style="text-align: justify;"><span style="color: #333333; font-size: medium;"><br /></span></div><span style="background-color: white; color: #333333; font-size: medium;"><div style="text-align: justify;">Purcell first exhibited her work in 1971, when she had a solo exhibition at Villa Roma Gallery in San Miguel de Allende. When she showed at the Corcoran in a six-artist show in September 1976, a critic stated: “Ann Purcell may be the one painter here to achieve a personal mood. She draws and paints like an Abstract Expressionist, spreads pigment like a color field painter, uses color like a Darby Bannard or a Richard Diebenkorn, but adds a gentleness all her own.”<a href="https://berrycampbell.com/exhibition/123/press_release/#_edn3" name="_ednref3" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;">[iii]</a> In addition to her 1976 solo exhibition at the Corcoran—she has had one-artist shows throughout her career, including two at Tibor de Nagy Gallery, New York (1980, 1983). She has also participated in numerous group exhibitions, including many organized by museums, including the Albright-Knox Art Gallery, Buffalo, and the National Museum of Women in the Arts.</div></span><div style="text-align: justify;"><span style="color: #333333; font-size: medium;"><br /></span></div><span style="background-color: white; color: #333333; font-size: medium;"><div style="text-align: justify;">Working in series, Purcell combines a wide range of sources from art history and life, uniting associations and extrapolations. Her “Caravan Series” evoke journeys, as well as “finding new things, places of influence, buying old things, ancient histories, and open discoveries.” The series was inspired by Purcell’s summers in Provincetown in the early 1980s. In the August 1984 issue of <em style="box-sizing: border-box;">The Advocate Summer Guide,</em> Purcell told Margaret Seaver that she had finally found “the mystical, paradoxical space” that she aimed to illustrate in her paintings from the landscape, culture, and light of Provincetown. “I see it in the boats on the bay. They are suspended in the endless and infinite space.”<a href="https://berrycampbell.com/exhibition/123/press_release/#_edn4" name="_ednref4" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;">[iv]</a> Other works belong to the “White Space,” “Lagniappe,” “Playground,” and “Kali Poem” series. Whereas the “Lagniappe” works reference a word that entered the English language from Louisiana French, describing small gifts given by merchants to customers for good measure, the “Kali Poem” paintings, featured in this exhibition, emanated from May Sarton’s 1971 poem of invocation to the Hindu goddess.</div></span><div style="text-align: justify;"><span style="color: #333333; font-size: medium;"><br /></span></div><span style="background-color: white; color: #333333; font-size: medium;"><div style="text-align: justify;">Throughout Purcell’s career, critics have given recognition to her willingness to explore a range of artistic methods and reconcile seemingly disparate means of expression. In 1976–77, when she was included in <em style="box-sizing: border-box;">Five Plus One</em>, a group exhibition at the Corcoran Gallery, Benjamin Forgey observed in <em style="box-sizing: border-box;">ARTnews</em> that the “light-filled paintings of Ann Purcell, alone among the artists in pursuing a complex, painterly style, are a delightful, sensual explosion.”<a href="https://berrycampbell.com/exhibition/123/press_release/#_edn5" name="_ednref5" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;">[v]</a> In 1983, Dan Cameron took note of a few exhibitions of Purcell’s work in an article in <em style="box-sizing: border-box;">Arts</em> magazine. Describing Purcell as “a fervent disciple of modernism,” he remarked on the way she brought together painting and drawing in the collages in her “Playground” series “by manipulating edge, mass, and composition in a single gesture.” Cameron went on to comment that Purcell had extended the “metaphoric velocity of her pieced paintings” into paintings themselves, in which she developed new methods of applying “thin lines, drips, oil stick calligraphy, and controlled skeins of color that act as chromatic splinters.” Observing that within a picture, these elements served to hold the frontal plane in place, Cameron stated how Purcell was able to balance “the stable pictorial structure with a new sense of disorderliness.”<a href="https://berrycampbell.com/exhibition/123/press_release/#_edn6" name="_ednref6" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;">[vi]</a> When Purcell exhibited her work at Osuma gallery in 1987, a critic commented that her works were “pure abstractions—Jackson Pollock paint drips accented with the occasional rugged brushstroke of a Franz Kline.”<a href="https://berrycampbell.com/exhibition/123/press_release/#_edn7" name="_ednref7" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;">[vii]</a></div></span><div style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; outline: none; text-align: justify; text-decoration-line: none;"><a href="https://berrycampbell.com/exhibition/123/press_release/#_edn7" name="_ednref7" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; outline: none; text-decoration-line: none;"><span style="font-size: medium;"><br /></span></a></div><span style="background-color: white; color: #333333;"><div style="text-align: justify;"><span style="font-size: medium;">Purcell was a prominent teacher of painting, drawing, and art history at the Corcoran College of Art and Design; the Smithsonian Institution, Washington, D.C.; and Parsons School of Art and Design in New York. She has been a guest lecturer and artist-in-residence at several universities. Her awards include grants from the Hereward Lester Cooke Foundation, National Gallery of Art (1988, for mid-career achievement), the Pollock-Krasner Foundation (1989, 2018), the New York Foundation for the Arts (2013), the Joan Mitchell Foundation (2014), and the Adolph and Esther Gottlieb Foundation (2014). Purcell’s work is represented in the collections of the National Gallery of Art, Washington, D.C.; the Phillips Collection, Washington, D.C.; Albright-Knox Art Gallery, Buffalo, New York; the Baltimore Museum of Art; the National Museum of Women in the Arts, Washington, D.C.; the Santa Barbara Museum; the Virginia Museum of Fine Arts, Richmond; and the Luther W. Brady Art Gallery, George Washington University, Washington, D.C.</span></div><br /></span></span><p></p><p><span face="Arial, sans-serif" style="background-color: white; color: #333333; font-size: 13px;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-WLAA8_cxsOY/X4ZIc9i0IFI/AAAAAAAAUrI/a-0uywD1GVgWjfZqa0zeW36hHQgMW4EuQCLcBGAsYHQ/s1435/Screen%2BShot%2B2020-10-13%2Bat%2B6.24.47%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="714" data-original-width="1435" height="318" src="https://1.bp.blogspot.com/-WLAA8_cxsOY/X4ZIc9i0IFI/AAAAAAAAUrI/a-0uywD1GVgWjfZqa0zeW36hHQgMW4EuQCLcBGAsYHQ/w640-h318/Screen%2BShot%2B2020-10-13%2Bat%2B6.24.47%2BPM.png" width="640" /></a></div><p style="text-align: center;"><span style="font-family: times;">Kali Poem #46 and #47 (Vanishing Time), 1989</span></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bSRN1dS_bko/X4ZJTyq7gRI/AAAAAAAAUrs/7T80DvTKBro0QnH9Wrs0bEwn8t3IEvXGwCLcBGAsYHQ/s1286/Screen%2BShot%2B2020-10-13%2Bat%2B6.27.37%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1286" data-original-width="1058" height="640" src="https://1.bp.blogspot.com/-bSRN1dS_bko/X4ZJTyq7gRI/AAAAAAAAUrs/7T80DvTKBro0QnH9Wrs0bEwn8t3IEvXGwCLcBGAsYHQ/w526-h640/Screen%2BShot%2B2020-10-13%2Bat%2B6.27.37%2BPM.png" width="526" /></a></div><p></p><p style="text-align: center;"><span style="font-family: times;">Blue Deep (Kali Poem #41), 1987</span></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mydRN0sBWWg/X4ZIl_8LeaI/AAAAAAAAUrM/AQuMGfoC2WwpbAq3qkWr-L5HDDtDCDSfACLcBGAsYHQ/s1412/Screen%2BShot%2B2020-10-13%2Bat%2B6.22.19%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1287" data-original-width="1412" height="584" src="https://1.bp.blogspot.com/-mydRN0sBWWg/X4ZIl_8LeaI/AAAAAAAAUrM/AQuMGfoC2WwpbAq3qkWr-L5HDDtDCDSfACLcBGAsYHQ/w640-h584/Screen%2BShot%2B2020-10-13%2Bat%2B6.22.19%2BPM.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;">Kali Poem #53, 1987<br /><br /><br /></span></div><br /><div class="separator" style="clear: both; text-align: justify;"><span style="font-size: x-small;"><a href="https://berrycampbell.com/exhibition/123/press_release/#_ednref1" name="_edn1" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; outline: none; text-align: start; text-decoration-line: none;">[i]</a><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> Kali is associated with Shiva (as his consort, wife, or associate), a god of destruction and creation. She is depicted with either four or ten arms and is usually dark-skinned (black or blue), indicating that she was created from darkness when the creation had yet to occur. Her features include eyes that are red with intoxication and rage, sharp fangs, claw-like hands with long nails, a red tongue that extends outward, and hair flying and disheveled. She is often shown on a battlefield, wearing a garland of human heads, which represent her killing rage but also her creative powers (the heads symbolize the letters of the Sanskrit alphabet and the beginning of language). Many images portray her naked (conveying her purity) and dancing, standing with her right foot on Shiva’s chest, holding a Khadga (a crescent-shaped sword) in each hand as well as a severed head and a cap to collect its blood. See David R. Kinsley, </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;">Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Traditions</em><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> (Berkeley, Calif.: University of California Press, 1988), pp. 116–31.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;" /><a href="https://berrycampbell.com/exhibition/123/press_release/#_ednref2" name="_edn2" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; outline: none; text-align: start; text-decoration-line: none;">[ii]</a><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> Jane Livingston, </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;">Five Washington Artists</em><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;">, exh. cat. (Washington, D.C.: Corcoran Gallery of Art, 1976).</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;" /><a href="https://berrycampbell.com/exhibition/123/press_release/#_ednref3" name="_edn3" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; outline: none; text-align: start; text-decoration-line: none;">[iii]</a><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> Barbara Gold, “Five Plus One at Corcoran,” </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;">The Sun</em><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> (Baltimore), September 26, 1976, p. D8.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;" /><a href="https://berrycampbell.com/exhibition/123/press_release/#_ednref4" name="_edn4" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; outline: none; text-align: start; text-decoration-line: none;">[iv]</a><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> Margaret Seaver, “Ann Purcell, A Self-Assured Artist,” </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;">The Summer Advocate</em><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> (Provincetown, Massachusetts), August 16, 1984.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;" /><a href="https://berrycampbell.com/exhibition/123/press_release/#_ednref5" name="_edn5" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; outline: none; text-align: start; text-decoration-line: none;">[v]</a><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> Benjamin Forgey, “Washington, D.C.: Catching Up with Morris Louis,” </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;">Art News</em><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> (November 1976), p. 104.</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;" /><a href="https://berrycampbell.com/exhibition/123/press_release/#_ednref6" name="_edn6" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; outline: none; text-align: start; text-decoration-line: none;">[vi]</a><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> Dan Cameron, “Ann Purcell,” </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;">Arts</em><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> (November 1983).</span><br style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;" /><a href="https://berrycampbell.com/exhibition/123/press_release/#_ednref7" name="_edn7" style="-webkit-tap-highlight-color: rgb(179, 212, 252); background: 0px 0px rgb(255, 255, 255); box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; outline: none; text-align: start; text-decoration-line: none;">[vii]</a><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;"> Pamela Kessler, “Four Artists in Search of No Subject,” </span><em style="background-color: white; box-sizing: border-box; color: #333333; font-family: Arial, sans-serif; text-align: start;">Washington Post</em><span face="Arial, sans-serif" style="background-color: white; color: #333333; text-align: start;">, September 25, 1987, p. WK47.</span></span></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p><br />Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-31842947668009324492020-10-13T18:22:00.003-07:002020-10-14T10:17:40.430-07:00In Common Writers Series: John Yau and Andrew Joron, Reading and in Conversation<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-L7nA69DB5aA/X4ZQQ5ahcAI/AAAAAAAAUsE/TaZTBLL36u8WUedByYxiJ2gwRzcpSBk0ACLcBGAsYHQ/s1571/Yau%252BJoron-alt%2Bbanner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="884" data-original-width="1571" height="360" src="https://1.bp.blogspot.com/-L7nA69DB5aA/X4ZQQ5ahcAI/AAAAAAAAUsE/TaZTBLL36u8WUedByYxiJ2gwRzcpSBk0ACLcBGAsYHQ/w640-h360/Yau%252BJoron-alt%2Bbanner.jpg" width="640" /></a></div><p></p><p style="text-align: center;"><span style="font-family: times;">John Yau | Andrew Joron</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; margin: 0px 0px 10px; text-align: justify;"><span style="font-size: medium;"><br /></span></p><p style="background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; margin: 0px 0px 10px; text-align: justify;"><span style="font-size: medium;">For the last program in The Poetry Center's <a href="https://diva.sfsu.edu/collections/poetrycenter/12636" style="background: transparent; border-bottom: 1px dotted rgb(204, 204, 204); box-sizing: border-box; color: #2a286a; line-height: 1.5; padding-bottom: 1px; text-decoration-line: none;" target="_blank"><strong style="box-sizing: border-box;"><em style="box-sizing: border-box;">In Common Writers Series</em></strong></a> for 2020, we are delighted to host renowned poet and art critic <strong style="box-sizing: border-box;">John Yau,</strong> appearing from New York City for two dates. He's joined Thursday, October 15 by poet, translator, and SF State faculty member <strong style="box-sizing: border-box;">Andrew Joron,</strong> <span style="box-sizing: border-box;">each of them reading their poetry and talking with one another and in response to questions from the audience</span>. Then, on Saturday evening October 17, Yau is reading and in conversation, focusing on his work as art critic and curator, with poet/performer and editor of <a href="https://openspace.sfmoma.org/" style="background: transparent; border-bottom: 1px dotted rgb(204, 204, 204); box-sizing: border-box; color: #2a286a; line-height: 1.5; padding-bottom: 1px; text-decoration-line: none;" target="_blank">Open Space</a> at SFMOMA, <strong style="box-sizing: border-box;">Claudia La Rocco</strong>, with emcee <strong style="box-sizing: border-box;">Brandon Brown</strong>. Thursday night's emcee is <strong style="box-sizing: border-box;">Carlos Quinteros III</strong>.</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; margin: 0px 0px 10px; text-align: justify;"><span style="font-size: medium;"><b>This remote-access event</b> starts promptly at 7:00 pm Pacific Time and is free and open to the public. Real-Time Captioning provided <a href="https://www.streamtext.net/player?event=SFSUPoetry" style="background: transparent; border-bottom: 1px dotted rgb(204, 204, 204); box-sizing: border-box; color: #2a286a; line-height: 1.5; padding-bottom: 1px; text-decoration-line: none;" target="_blank">here</a>. F<span style="box-sizing: border-box;"><span style="box-sizing: border-box;">or other reasonable accommodations please contact <a href="mailto:poetry@sfsu.edu" style="background: transparent; border-bottom: 1px dotted rgb(204, 204, 204); box-sizing: border-box; color: #2a286a; line-height: 1.5; padding-bottom: 1px; text-decoration-line: none;">poetry@sfsu.edu.</a></span></span></span></p><p style="background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; margin: 0px 0px 10px;"></p><div style="text-align: justify;"><span style="font-size: medium;">The <a href="https://diva.sfsu.edu/collections/poetrycenter/12636" style="background: transparent; border-bottom: 1px dotted rgb(204, 204, 204); box-sizing: border-box; color: #2a286a; line-height: 1.5; padding-bottom: 1px; text-decoration-line: none;" target="_blank">In Common Writers Series </a>is supported by the Walter & Elise Haas Fund. </span></div><div style="text-align: justify;"><span style="font-size: medium;"><br /></span></div><div style="text-align: justify;"><a href="https://poetry.sfsu.edu/events/29163-common-writers-series-john-yau-and-andrew-joron-reading-and-conversation?fbclid=IwAR0-pDrjYczF-S7NBiskJNChKqAG7STNiSy9lTId5YO1m4i06O1T4w0mDOs" target="_blank"><span style="font-size: medium;">(info)</span></a></div><div style="text-align: justify;"><span style="font-size: medium;"> </span></div><div style="text-align: justify;"><span style="font-size: medium;"><br /></span></div><p></p><ul style="background-color: white; box-sizing: border-box; color: #565656; margin-bottom: 10px; margin-top: 0px; padding-left: 1.5em;"><li style="box-sizing: border-box;"><b style="box-sizing: border-box;"><span style="font-size: medium;"><span face="Open Sans, sans-serif">I</span><span style="font-family: times;">nauguration Day</span></span></b></li></ul><div><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> <br style="box-sizing: border-box;" /> If you think the next President</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> is going to improve your quality of life</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> </span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> you choose to believe</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> that war is a three-letter word</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> </span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> that does not affect anyone it touches</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> except the tender pages of youth</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> </span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> You know, those dirty sheets</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> young lovers write odes on</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> </span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> before they die between blinks</span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> </span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"> —John Yau, from <i style="box-sizing: border-box;">Bijoux in the Dark</i></span></p><p style="background-color: white; box-sizing: border-box; color: #565656; margin: 0px 0px 10px;"><span style="font-family: times; font-size: medium;"><i style="box-sizing: border-box;"><br /></i></span></p><p style="background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; font-size: 14px; margin: 0px 0px 10px;"><i style="box-sizing: border-box;"><br /></i></p><p style="background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; font-size: 14px; margin: 0px 0px 10px; text-align: justify;"><i style="box-sizing: border-box;"></i></p><div class="field field-name-field-event-extras field-type-text-long field-label-hidden" style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><div class="field-items" style="box-sizing: border-box;"><div class="field-item even" style="box-sizing: border-box;"></div></div></div><p></p><div class="field field-name-field-description field-type-text-long field-label-hidden" style="-webkit-text-stroke-width: 0px; background-color: white; box-sizing: border-box; color: #565656; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><div class="field-items" style="box-sizing: border-box;"><div class="field-item even" style="box-sizing: border-box;"><p style="box-sizing: border-box; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: times; font-size: medium;"><b style="box-sizing: border-box; font-weight: bold;">John Yau</b> is a poet, fiction writer, critic, editor, curator, and publisher of Black Square Editions, a small independent press that has published books and broadsides of poetry, fiction, criticism, and translation, as well as prints. He has contributed to essays in many catalogs and museum publications, as well as written for <i style="box-sizing: border-box;">Art in America, Artforum, Art News, New York Times, Los Angeles Times</i>, and <i style="box-sizing: border-box;">Art Press</i>. His work is included in many anthologies of poetry, fiction, and criticism, and has been translated into French, German, Italian, Portuguese, Spanish, and Chinese. After serving as the Arts Editor for the <i style="box-sizing: border-box;">Brooklyn Rail</i> (2007–2011), Yau left and helped start the online journal <a href="https://hyperallergic.com/" style="background: transparent; border-bottom: 1px dotted rgb(204, 204, 204); box-sizing: border-box; color: #2a286a; line-height: 1.5; padding-bottom: 1px; text-decoration: none;" target="_blank"><i style="box-sizing: border-box;">Hyperallergic</i></a>, where he frequently posts his reviews.</span></p><p style="box-sizing: border-box; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: times; font-size: medium;">Yau is the author of over 40 books, recently<span> </span><i style="box-sizing: border-box;">Bijoux in the Dark</i><span> </span>(poetry, Letter Machine Editions, 2018),<span> </span><i style="box-sizing: border-box;">The Wild Children of William Blake<span> </span></i>(essays, Autonomedia, 2017),<span> </span><i style="box-sizing: border-box;">Foreign Sounds or Sounds Foreign</i><span> </span>(essays, Madhat Press, 2020), and artist monographs on works by<span> </span><i style="box-sizing: border-box;">Philip Taafe</i><span> </span>(Lund Humphries, 2018) and<span> </span><i style="box-sizing: border-box;">Suzan Frecon</i><span> </span>(David Zwirner Books, 2020). He has received fellowships from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts, Academy of American Poets, New York Foundation of the Arts, Ingram Merrill Foundation, and the General Electric Foundation. Yau was named a Chevalier in the Order of Arts and Letters by the French government in 2002. He is a Professor of Critical Studies at Mason Gross School of the Arts (Rutgers University) and lives in New York. More at<span> </span><a href="https://poets.org/poet/john-yau" style="background: transparent; border-bottom: 1px dotted rgb(204, 204, 204); box-sizing: border-box; color: #2a286a; line-height: 1.5; padding-bottom: 1px; text-decoration: none;" target="_blank">poets.org</a></span></p><p style="box-sizing: border-box; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: times; font-size: medium;"><b style="box-sizing: border-box; font-weight: bold;">Andrew Joron</b><span> </span>is the author of<span> </span><i style="box-sizing: border-box;">The Absolute Letter</i>, a collection of poems published by<i style="box-sizing: border-box;"><span> </span></i>Flood Editions (2017). Joron’s previous poetry collections include<span> </span><i style="box-sizing: border-box;">Trance Archive: New and Selected Poems</i><span> </span>(City Lights, 2010),<span> </span><i style="box-sizing: border-box;">The Removes<span> </span></i>(Hard Press, 1999),<span> </span><i style="box-sizing: border-box;">Fathom</i><span> </span>(Black Square Editions, 2003), and<span> </span><i style="box-sizing: border-box;">The Sound Mirror</i><span> </span>(Flood Editions, 2008).<span> </span><i style="box-sizing: border-box;">The Cry at Zero</i>, a selection of his prose poems and critical essays, was published by Counterpath Press in 2007. From the German, he has translated the<span> </span><i style="box-sizing: border-box;">Literary Essays</i><span> </span>of Marxist-Utopian philosopher Ernst Bloch (Stanford University Press, 1998) and<span> </span><i style="box-sizing: border-box;">The Perpetual Motion Machine</i><span> </span>by the proto-Dada fantasist Paul Scheerbart (Wakefield Press, 2011). As a musician, Joron plays the theremin in various experimental and free-jazz ensembles. Joron teaches creative writing at San Francisco State University.</span></p><p style="box-sizing: border-box; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></p><p style="box-sizing: border-box; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></p><p style="box-sizing: border-box; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: times; font-size: medium;"><br /></span></p></div></div></div><p style="background-color: white; box-sizing: border-box; color: #565656; font-family: "Open Sans", sans-serif; font-size: 14px; margin: 0px 0px 10px; text-align: justify;"><i style="box-sizing: border-box;"><br /></i></p></div>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-44515113579923589582020-09-27T09:21:00.003-07:002020-09-27T09:24:33.588-07:00On the Decision to Postpone Guston Exhibit Indefinitely<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-vWr51pp52gk/X3C5DM-aEPI/AAAAAAAAUpY/s2UMGpDYa5kJpLE2A-U8MeSU6_2WnbvoACLcBGAsYHQ/s280/imrs.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="210" height="640" src="https://1.bp.blogspot.com/-vWr51pp52gk/X3C5DM-aEPI/AAAAAAAAUpY/s2UMGpDYa5kJpLE2A-U8MeSU6_2WnbvoACLcBGAsYHQ/w480-h640/imrs.webp" width="480" /></a></div><br /><div style="text-align: center;"><span face="Franklin, arial, sans-serif" style="color: #666666; font-size: 14px; text-align: left;">Philip Guston’s “Head II,” 1969, one of the works in the postponed show. (National Gallery of Art, Washington, Gift of Edward R. Broida)</span></div><div style="text-align: center;"><span face="Franklin, arial, sans-serif" style="color: #666666; font-size: 14px; text-align: left;"><br /></span></div><div style="text-align: center;"><span face="Franklin, arial, sans-serif" style="color: #666666; font-size: 14px; text-align: left;"><br /></span></div><div style="text-align: center;"><span face="Franklin, arial, sans-serif" style="color: #666666; font-size: 14px; text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="color: #666666; text-align: left;"><b><i><span style="font-family: arial;">From the Washington Post's art critic, Sebastian Smee</span></i></b></span></div><div style="text-align: justify;"><span style="color: #666666; text-align: left;"><b><i><span style="font-family: arial;">In postponing Guston exhibition, the National Gallery and three other museums have made a mistake</span></i></b></span></div><div style="text-align: justify;"><span style="color: #666666; text-align: left;"><b><i><span style="font-family: arial;"><br /></span></i></b></span></div><div style="text-align: justify;"><span style="color: #666666; text-align: left;"><span style="font-family: arial;"><u>From the article:</u></span></span></div><div style="text-align: justify;"><span face="Franklin, arial, sans-serif" style="color: #666666; font-size: 14px; text-align: left;"><b><i><br /></i></b></span></div><div style="text-align: justify;"><span style="color: #2a2a2a; text-align: start;"><span style="font-family: arial;">"In the art world, the culture war is playing out as a question of how big a role art can and should play in bringing about certain kinds of social change. Many on the left want our idea of art to become so instrumentalist — so subservient to political imperatives — that they are willing to jettison large parts of what art means to people who love it and truly need it. I am referring to its ambiguities, its contradictions, its connection to the richness and freedom of our inner lives, to beauty and pain, and its ability to speak to confusions within and without. I’m talking about all the things you find in Toni Morrison, in Frank Ocean, in Anton Chekhov or Alice Munro, in Shostakovich or Duke Ellington, in Romare Bearden or Philip Guston." <a href="https://www.washingtonpost.com/entertainment/museums/national-gallery-postponement-of-philp-guston-show-was-a-mistake/2020/09/27/9b3c6082-003f-11eb-8d05-9beaaa91c71f_story.html" target="_blank">web</a></span></span></div><div style="text-align: justify;"><span style="color: #2a2a2a; text-align: start;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: start;"><br /></div><p></p>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-66707274193547853472020-06-27T07:16:00.001-07:002020-06-27T07:22:53.169-07:00Strangers in Stranger Lands at Marquee Projects<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-f712O2-Ys2o/XvdQ3ak7UWI/AAAAAAAAUno/NlXofzReE2sz2g0TZ-sH7mM4jsEcYWwRQCLcBGAsYHQ/s1600/image0.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://1.bp.blogspot.com/-f712O2-Ys2o/XvdQ3ak7UWI/AAAAAAAAUno/NlXofzReE2sz2g0TZ-sH7mM4jsEcYWwRQCLcBGAsYHQ/s640/image0.jpeg" width="640" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Clockwise: <span style="color: #444444;"><span style="background-color: white;">Genieve Figgis, Janet Maya, Peter Schlesinger, and Felipe Ariza Castro</span></span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><u>From the Press Release:</u></span><br />
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<span style="font-family: arial, helvetica, sans-serif;"><a href="https://www.marqueeprojects.org/stranger-in-stranger-lands" target="_blank">Marquee Projects</a> is pleased to present <em style="overflow-wrap: break-word;">Strangers in Stranger Lands</em>, a group exhibition of paintings and sculptures by Felipe Ariza Castro, <a href="http://www.marydevincentis.com/default2.asp" target="_blank">Mary DeVincentis</a>, Genieve Figgis, Philip Gerald, Carly Haffner, Brandon Lipchik, Janet Maya, Peggy Robinson, Carol Saft, Peter Schlesinger, and Emily Quinn. </span></div>
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</div><div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; text-align: center; white-space: pre-wrap;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small; letter-spacing: normal; white-space: normal;">Mary DeVincentis, After the Gold Rush, 2020, acrylic on panel, 14 x 11 inches.</span></div><div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; text-align: center; white-space: pre-wrap;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small; letter-spacing: normal; white-space: normal;"><br /></span></div><div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; text-align: center; white-space: pre-wrap;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small; letter-spacing: normal; white-space: normal;"><br /></span></div><div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; text-align: center; white-space: pre-wrap;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small; letter-spacing: normal; white-space: normal;"><br /></span></div><div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; white-space: pre-wrap;"><em style="overflow-wrap: break-word;"><span style="font-family: arial, helvetica, sans-serif;">There comes a time in the life of every human when he or she must decide to risk "his life, his fortune, and his sacred honor" on an outcome dubious. Those who fail the challenge are merely overgrown children, can never be anything else.</span></em></div>
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<span style="font-family: arial, helvetica, sans-serif;"> – Robert A. Heinlein, <em style="overflow-wrap: break-word;">Stranger in a Strange Land. 1961</em></span></div>
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</div><div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="font-family: arial, helvetica, sans-serif;">In recent weeks we’ve all had the disorienting experience of witnessing massive, dramatic global events while still largely staying at home or slowly emerging from our homebound cocoons. Our minds have been expanded both outwardly and inwardly, and Marquee Projects presents an exhibition of international artists who risk delving into the ineffable and often unsettling spaces of consciousness, experimenting with the traditional genre of the figure in a landscape. Everything that seems familiar is rendered foreign. The only certainty is uncertainty. Placement is neither here nor there as we wrestle with time and history. We live in strange times and these artworks place us in stranger lands.</span></div>
<div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="font-family: arial, helvetica, sans-serif; letter-spacing: 0.84px;"><br /></span></div><div style="background-color: white; letter-spacing: 0.84px; overflow-wrap: break-word; white-space: pre-wrap;"><span style="font-family: arial, helvetica, sans-serif; letter-spacing: 0.84px;"> We kindly ask that you wear a mask. Groups of no more than four people at a time may enter the gallery. We also invite you to visit and explore our exhibition online. Marquee Projects’ website and Artsy site will post installation and individual photos of the work. Please also visit us on our social media platforms on Instagram and Facebook.</span>
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<span style="font-family: arial, helvetica, sans-serif;">Strangers in Stranger Lands</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">June 20 - July 26, 2020</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Bellport, NY</span></div>
Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-242613966612733922020-06-24T08:28:00.002-07:002020-06-24T08:33:02.822-07:00About the Human Figure at Michael Werner Gallery, London<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-YNkCeRG_Eig/XvNuWRbiI8I/AAAAAAAAUnY/j2K2NRLA_mU-HYy-W3EfyYapEhKlfkY-gCLcBGAsYHQ/s1600/pol.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1358" height="640" src="https://1.bp.blogspot.com/-YNkCeRG_Eig/XvNuWRbiI8I/AAAAAAAAUnY/j2K2NRLA_mU-HYy-W3EfyYapEhKlfkY-gCLcBGAsYHQ/s640/pol.jpg" width="542" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Sigmar Polke, Zwei <i style="caret-color: rgb(102, 102, 102); text-size-adjust: auto;">Köpfe, 1971-73</i></span></div>
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<i style="caret-color: rgb(102, 102, 102); text-size-adjust: auto;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Dispersion, latex, acrylic on canvas, 51 1/4 x 43 1/4 inches</span></i></div>
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<div style="text-align: left;"><span style="caret-color: rgb(102, 102, 102); text-size-adjust: auto;"><span style="font-family: arial, helvetica, sans-serif;">About the Human Figure<br /><br />June 25 - September 4, 2020</span></span></div><div style="text-align: left;"><span style="caret-color: rgb(102, 102, 102); text-size-adjust: auto;"><span style="font-family: arial, helvetica, sans-serif;"><u><br /></u></span></span></div><div style="text-align: left;">
<span style="caret-color: rgb(102, 102, 102); text-size-adjust: auto;"><span style="font-family: arial, helvetica, sans-serif;"><u>From the Press Release:</u></span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><span style="caret-color: rgb(102, 102, 102); text-align: justify;">Michael Werner Gallery, London is pleased to announce the reopening of our gallery and the opening of our new group exhibition titled</span><span class="Apple-converted-space" style="caret-color: rgb(102, 102, 102); text-align: justify;"> </span><i style="caret-color: rgb(102, 102, 102); text-align: justify;">About the Human Figure</i><span style="caret-color: rgb(102, 102, 102); text-align: justify;">, which will run in tandem with our summer online exhibition titled</span><span class="Apple-converted-space" style="caret-color: rgb(102, 102, 102); text-align: justify;"> </span><i>The Human Figure</i>.<span class="Apple-converted-space" style="caret-color: rgb(102, 102, 102); text-align: justify;"> </span><span style="caret-color: rgb(102, 102, 102); text-align: justify;">On view at Michael Werner Gallery, London will be a selection of major paintings and sculpture by James Lee Byars, Enrico David, Peter Doig, Florian Krewer, Francis Picabia, A.R. Penck, Sigmar Polke, Raphaela Simon, and Don Van Vliet.</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;">From the beginning of time, humans have desired to see themselves reflected in art. The human figure was rendered on cave walls and carved into stones to be carried as totems or idols. Since antiquity, artists have expanded on these early impulses, and the portrayal of the human figure has a long tradition in the history of art. Displaying works created from 110 years ago until today,<span class="Apple-converted-space"> </span><i>About the Human Figure</i><span class="Apple-converted-space"> </span>explores the limitless possibilities of the human figure in painting and sculpture.</span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><i>About the Human Figure</i><span class="Apple-converted-space"> </span>opens on 25 June at Michael Werner Gallery, London, and will remain on view through 4 September. The gallery is open by appointment from 25 June to 3 July, Tuesday to Friday from 11am to 5pm. The gallery will reopen to the public on 7 July, Tuesday to Friday from 10am to 6pm. To ensure the safety of the public and staff, Michael Werner Gallery, London has implemented social distancing guidelines, which can be found on our<span class="Apple-converted-space"> </span>website, or by contacting us via email at<span class="Apple-converted-space"> </span>london@michaelwerner.com, or by calling +44 207 495 6855.</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">For more information regarding the exhibition, please contact the gallery at<span class="Apple-converted-space"> </span>press@michaelwerner.com, visit<span class="Apple-converted-space"> </span>www.michaelwerner.com, or contact Carrie Rees, Rees & Co. at<span class="Apple-converted-space"> </span>carrie@reesandco.com. Follow the gallery on<span class="Apple-converted-space"> </span>Instagram,<span class="Apple-converted-space"> </span>Twitter,<span class="Apple-converted-space"> </span>Facebook,<span class="Apple-converted-space"> </span>and<span class="Apple-converted-space"> </span>Wechat.</span></div>
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<div style="caret-color: rgb(102, 102, 102); text-align: justify; text-size-adjust: auto; width: 521px;" width="521"><a href="https://www.michaelwerner.com/home/c/london" style="font-family: arial, helvetica, sans-serif;" target="_blank">Michael Werner Gallery</a></div>
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Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-12748433490484857442020-06-23T17:26:00.000-07:002020-06-23T17:26:23.137-07:00Kudditji Kame Kngwarreye & Idris Murphy at Mitchell Fine Art<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Idris Murphy, Wash Away, acrylic on board, 60 x 60 cm</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Kudditji Kame Kngwarreye and Idris Murphy</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://www.mitchellfineartgallery.com/news/kudditji-kame-kngwarreye-aboriginal-art-exhibition/" target="_blank">Mitchell Fine Art</a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">86 Arthur Street, Fortitude Valley</span></div>
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Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-74182696401566997412020-06-12T09:57:00.003-07:002020-06-12T10:02:08.963-07:00Jeanne Tremel, Slow Dive: An Online Exclusive at Court Tree Gallery<br />
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Jeanne Tremel, May 22, 2013, oil on yupo paper, 24 x 24 inches</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Jeanne Tremel: Slow Dive </span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><i>An online exclusive solo exhibition</i></span></div>
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<span style="font-family: arial, helvetica, sans-serif;">June 12 - July 24, 2020</span></div>
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<u><span style="font-family: arial, helvetica, sans-serif;">From the Press Release:</span></u></div>
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<span style="background-color: white;"><span style="font-family: arial, helvetica, sans-serif;">Court Tree Collective proudly presents Slow Dive by Jeanne Tremel. Whether Jeanne is gathering found objects, hand sewing new ones, or painting colorful abstractions her work moves to the same rhythm. In the discovery of her work, there is something incredibly fresh and organic.</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><span style="background-color: white; color: #414042;"><a href="http://jeannetremel.virb.com/" target="_blank">Jeanne Tremel</a> (b. 1960) is a visual artist who has shown her works throughout the NYC area, the US, and abroad. Born in Minneapolis, her formal art education began at St. Cloud State University, Minnesota (BFA), and continued in Chicago at The School of the Art Institute of Chicago (MFA). Later, at the School of Visual Arts in NYC, she earned a Certificate in Art Therapy. She has exhibited her work most recently at Nancy Margolis Gallery, Pelham Art Center, David & Schweitzer Contemporary, Royal Society of American Art and Ground Floor Gallery. Her work has been reviewed in </span><i style="background-color: white; border: 0px; color: #414042; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The New York Times, Time Out New York,</i><span style="background-color: white; color: #414042;"> and featured on many online venues, such as </span><i style="background-color: white; border: 0px; color: #414042; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Woman Artist A Day,</i><span style="background-color: white; color: #414042;"> </span><i style="background-color: white; border: 0px; color: #414042; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Left Bank Art Blog</i><span style="background-color: white; color: #414042;">, </span><i style="background-color: white; border: 0px; color: #414042; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Artefuse, Two Coats of Paint, and Gallery Travels.</i><span style="background-color: white; color: #414042;"> In November 2015, she was interviewed about her work for </span><a href="https://www.huffpost.com/entry/jeanne-tremel-active-drea_b_8504118" style="background-color: white; border: 0px; color: #8091e7; font-stretch: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" target="_blank"><i style="border: 0px; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Huffington Post</i></a><span style="background-color: white; color: #414042;">. She considers herself an abstract painter at heart, switching between oil and mixed media flatwork and sculptural wall & floor pieces, and installations, all made of collected materials. She also enjoys the challenge of painting en plein air, especially seascapes. Jeanne has lived in Brooklyn for 26 years.</span></span></div>
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Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-47559256901300512362020-06-11T17:03:00.002-07:002020-06-11T17:03:29.597-07:00Aham: A Video Project by Nehal Devi<br />
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<a href="https://1.bp.blogspot.com/-ipezFFO4eJc/XuLCAbXN2OI/AAAAAAAAUmM/BDHmEgWKjEIN78oHs_BjcvlK5fm8QHHgACLcBGAsYHQ/s1600/Screen%2BShot%2B2020-06-11%2Bat%2B7.42.22%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="982" data-original-width="824" height="640" src="https://1.bp.blogspot.com/-ipezFFO4eJc/XuLCAbXN2OI/AAAAAAAAUmM/BDHmEgWKjEIN78oHs_BjcvlK5fm8QHHgACLcBGAsYHQ/s640/Screen%2BShot%2B2020-06-11%2Bat%2B7.42.22%2BPM.png" width="536" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Nehal Devi, Video still from <i>Aham</i>, 2020</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Nehal Devi, Video still from <i>Aham</i>, 2020</span></div>
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<a href="https://1.bp.blogspot.com/-hmRpEp5cu_4/XuK9-sSi5PI/AAAAAAAAUlo/gw-yK51XMao0RzkoWAgBbGsqNOfGCc6FgCLcBGAsYHQ/s1600/Screen%2BShot%2B2020-06-11%2Bat%2B12.02.08%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1047" data-original-width="875" height="640" src="https://1.bp.blogspot.com/-hmRpEp5cu_4/XuK9-sSi5PI/AAAAAAAAUlo/gw-yK51XMao0RzkoWAgBbGsqNOfGCc6FgCLcBGAsYHQ/s640/Screen%2BShot%2B2020-06-11%2Bat%2B12.02.08%2BPM.png" width="534" /></a></div>
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<br /><iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/N5sSueUu18A/0.jpg" src="https://www.youtube.com/embed/N5sSueUu18A?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><i>Aham</i>, Nehal Devi, 2020</span></div>
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<span style="background-color: #f9f9f9; color: #030303; text-align: start; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>I live my life in widening circles
that reach out across the world.
I may not ever complete the last one,
but I give myself to it.
I circle around God, that primordial tower.
I have been circling for thousands of years,
and I still don’t know: am I a falcon,
a storm, or a great song?</i>
Rainer Maria Rilke</span></span></div>
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<a href="https://1.bp.blogspot.com/-baOfDdGCvVc/XuLCADZ4QII/AAAAAAAAUmQ/b-fcloWg_rUp72bRKk0kBzoSVwySqi7gwCEwYBhgLKs4DAL1OcqxQJez7-WEXA2zlg4Uh0vohTnx-Q4M-rcRBehqpdaavkASxGLtuqmuJfCnaAmuYeAayJ3kNtMxXsnit-2lr6t-fwBI7aSsvmnB1-4GHpP-AGzdGXSAKieeJLzDiI0QJ6SFV2WuKNX2qJJdHHwRHY6C3737OGF7PRm2oQ2iuSXbSV5fGXzMu9M949FsnaGkXor7nCppZtYDMunV6woMeJSSxrgLvFa5ErrBGMekOM8EADKNdGtZmAkb38JfYB5u-R5uWe2iXbo_kABsWFi20kqapnp3T-GirWPjjkPgau9JBYhF5cN8RIRAoetbA3qhl6rnipFC9KxgB2vvpQ92WrzPppYuMLoQWwczj6aanCAvsDLAjggnQXgW_Ih_ciA1GSoNFO8o9Ujk3A4R9DeNjJFwi7UtyRdRgRjIk8Orrt2OTA4EN68D00P4NZfQ6clEVON48iKx7eSGIMOowMmTS62_bt5E01JsqRiBtGyfB7HBoHPcjhkkFMCzHKf6uFTkoMpi25D6D1SO-xzu8d_eC-laf2Na5ugfF8BHkPEUg0sTCYyGCIfneH-6rESWlCV9eBIwHLyCX2s_3_RFfAxzeURYnYQp2Suw0NcOmMLCJi_cF/s1600/Screen%2BShot%2B2020-06-11%2Bat%2B7.43.06%2BPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="944" data-original-width="825" height="640" src="https://1.bp.blogspot.com/-baOfDdGCvVc/XuLCADZ4QII/AAAAAAAAUmQ/b-fcloWg_rUp72bRKk0kBzoSVwySqi7gwCEwYBhgLKs4DAL1OcqxQJez7-WEXA2zlg4Uh0vohTnx-Q4M-rcRBehqpdaavkASxGLtuqmuJfCnaAmuYeAayJ3kNtMxXsnit-2lr6t-fwBI7aSsvmnB1-4GHpP-AGzdGXSAKieeJLzDiI0QJ6SFV2WuKNX2qJJdHHwRHY6C3737OGF7PRm2oQ2iuSXbSV5fGXzMu9M949FsnaGkXor7nCppZtYDMunV6woMeJSSxrgLvFa5ErrBGMekOM8EADKNdGtZmAkb38JfYB5u-R5uWe2iXbo_kABsWFi20kqapnp3T-GirWPjjkPgau9JBYhF5cN8RIRAoetbA3qhl6rnipFC9KxgB2vvpQ92WrzPppYuMLoQWwczj6aanCAvsDLAjggnQXgW_Ih_ciA1GSoNFO8o9Ujk3A4R9DeNjJFwi7UtyRdRgRjIk8Orrt2OTA4EN68D00P4NZfQ6clEVON48iKx7eSGIMOowMmTS62_bt5E01JsqRiBtGyfB7HBoHPcjhkkFMCzHKf6uFTkoMpi25D6D1SO-xzu8d_eC-laf2Na5ugfF8BHkPEUg0sTCYyGCIfneH-6rESWlCV9eBIwHLyCX2s_3_RFfAxzeURYnYQp2Suw0NcOmMLCJi_cF/s640/Screen%2BShot%2B2020-06-11%2Bat%2B7.43.06%2BPM.png" width="558" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Nehal Devi, Video still from <i>Aham</i></span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">, 2020</span></div>
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<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;"><a href="https://nehaldevi.wordpress.com/author/nehaldevi/" target="_blank">Nehal Devi</a> <span style="color: #111111;">is a yogini and an artist, who expresses herself through varied forms: painting, performance, and moving/still images. She explores the seemingly paradoxical relationship between Nehal, the ‘self’ identified with her name and form (the relative ‘I’), and Devi, the unchanging unidentified ‘Self’ (the absolute ‘I’). Her work focuses on I-I.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">All Images & Content <span style="background-color: white; color: #4d5156;">© Nehal Devi 2020</span></span></div>
Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-79747531152437269832020-06-09T13:42:00.003-07:002020-06-12T09:39:30.994-07:00William Norton: Of This Time and Timeless<br />
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<a href="https://1.bp.blogspot.com/-QMxifXdj7uA/Xt5yOhMKBeI/AAAAAAAAUks/6QjZx6ulVjA5CI40ptGoIbUxGuoxboZAwCLcBGAsYHQ/s1600/Image%2B3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="691" height="640" src="https://1.bp.blogspot.com/-QMxifXdj7uA/Xt5yOhMKBeI/AAAAAAAAUks/6QjZx6ulVjA5CI40ptGoIbUxGuoxboZAwCLcBGAsYHQ/s640/Image%2B3.jpeg" width="552" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><span style="caret-color: rgb(0, 0, 0);">Pistol Packing Little Boy</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">26” x 27” x 7”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Hand Etched and Formed Plexiglass with Acrylic Paint, Shadows and Reflections<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019 </span></div>
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<span style="font-family: arial, helvetica, sans-serif;"><a href="http://www.nortonart.net/" target="_blank">Willian Norton</a>'s area of concern has long been the protest, the outcry for better and just treatment, the demand for equality and compassion, and the brutal, monstrous response of those in power, to that demand.</span><br />
<span style="font-family: arial, helvetica, sans-serif;">The world needs voices like Norton's that are able to poetically and at times beautifully distill and present the profound sufferings of a citizenry and force an often indifferent, affluent, and predominantly white public to look at itself and question how close we are living to our professed values. </span><br />
<span style="font-family: arial, helvetica, sans-serif;">To paraphrase, the painter, Francis Bacon, Norton creates very close to the nerve and in doing so comes very close to our nerve.</span><br />
<span style="font-family: arial, helvetica, sans-serif;"> Norton's current body of work is topical but it's also much more. It eloquently voices, perhaps the dominating and eternally ingrained characteristic of the human experience, the movement towards right and equality. It of this time, yes, but also timeless.</span><br />
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<a href="https://1.bp.blogspot.com/-aYSqqLL_fNY/Xt5yRbA43bI/AAAAAAAAUlE/cIZ8oZUDiaAeS2DrDicdA0p_zpdNt7D0wCLcBGAsYHQ/s1600/Image.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="251" height="640" src="https://1.bp.blogspot.com/-aYSqqLL_fNY/Xt5yRbA43bI/AAAAAAAAUlE/cIZ8oZUDiaAeS2DrDicdA0p_zpdNt7D0wCLcBGAsYHQ/s640/Image.jpeg" width="200" /></a></div>
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<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Divine Wind</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">102” x 21.5” x 3.5”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Hand Etched Plexiglass with Shadows and Reflections<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2018-2019</span></div>
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<a href="https://1.bp.blogspot.com/-sBYPwSULCNc/Xt5yLW4ydeI/AAAAAAAAUkk/YPQh6gfTZssCtmUQafd8NIkEnBgAA_a9gCLcBGAsYHQ/s1600/Image%2B2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="640" src="https://1.bp.blogspot.com/-sBYPwSULCNc/Xt5yLW4ydeI/AAAAAAAAUkk/YPQh6gfTZssCtmUQafd8NIkEnBgAA_a9gCLcBGAsYHQ/s640/Image%2B2.jpeg" width="480" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">(Detail from Divine Wind)</span></div>
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<a href="https://1.bp.blogspot.com/-HsCPbiOCxXQ/Xt5yJBt-U_I/AAAAAAAAUlY/w_25qZ_jQK0jywnrAVh4EJnGqrz9r1DwgCEwYBhgLKs4DAL1OcqwzUSmVVV2vvHVO0nHEitXZVxYptkLgYtGYjiWo7apSynIpmB9RAzOmuGd2GD6YhCBJV7Wke-gWIFdIuQV5yZAPQjwfIOELJImRPjyMGc9ijh2SFKKylmzd4j-ioLfutFmFK-lhuKCdA36kaOiFS9s_PLUuCnP3ghoThfPsuThdfoIw_oNzhcAh6QJS8x2jjuzeNhXtkTccjILWsDgidDF_iguy7_ZpZki5_PSNBOtgyaYBYKxv81JsSEv73Nh6K2QtRU-QUG4H4ZaktGEXt8gAfaDDSCEsCfMJG065UJif8l05xM1Z0cJIR2HaLvBqkzjaL_vrGHjCHqZ9gMOJSWHS-blwYgjNYn9JZg0prqu2LSlPH0zodT6djvMaEJv2xOCH2kTKPHxRTlz1r84alsQCFztQMUiUPpAmlDmJxYigdPV539yOJ9yBYiINmLzxbwXIgglVBonHMqFGdRWr9t8ccxrw-Y7yG5yrcCNn6FgToAAFiWoa9rUt0u7uHVspJC292MciWFq8_saxou6qn6OBJoP5m33LIfz_MD0yWz_xw8TrOI4RMQoNXgyGERX8m3d-w7SqpFexbKoN5RHXa-Bprgy7ceaO_5VWMNrq-fYF/s1600/71096966_10158781887493056_6144689842144935936_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="838" height="626" src="https://1.bp.blogspot.com/-HsCPbiOCxXQ/Xt5yJBt-U_I/AAAAAAAAUlY/w_25qZ_jQK0jywnrAVh4EJnGqrz9r1DwgCEwYBhgLKs4DAL1OcqwzUSmVVV2vvHVO0nHEitXZVxYptkLgYtGYjiWo7apSynIpmB9RAzOmuGd2GD6YhCBJV7Wke-gWIFdIuQV5yZAPQjwfIOELJImRPjyMGc9ijh2SFKKylmzd4j-ioLfutFmFK-lhuKCdA36kaOiFS9s_PLUuCnP3ghoThfPsuThdfoIw_oNzhcAh6QJS8x2jjuzeNhXtkTccjILWsDgidDF_iguy7_ZpZki5_PSNBOtgyaYBYKxv81JsSEv73Nh6K2QtRU-QUG4H4ZaktGEXt8gAfaDDSCEsCfMJG065UJif8l05xM1Z0cJIR2HaLvBqkzjaL_vrGHjCHqZ9gMOJSWHS-blwYgjNYn9JZg0prqu2LSlPH0zodT6djvMaEJv2xOCH2kTKPHxRTlz1r84alsQCFztQMUiUPpAmlDmJxYigdPV539yOJ9yBYiINmLzxbwXIgglVBonHMqFGdRWr9t8ccxrw-Y7yG5yrcCNn6FgToAAFiWoa9rUt0u7uHVspJC292MciWFq8_saxou6qn6OBJoP5m33LIfz_MD0yWz_xw8TrOI4RMQoNXgyGERX8m3d-w7SqpFexbKoN5RHXa-Bprgy7ceaO_5VWMNrq-fYF/s640/71096966_10158781887493056_6144689842144935936_n.jpg" width="640" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">William Norton and the Hei Hei dog in front of an installation by <a href="http://www.ettyyanivstudio.com/" target="_blank">Etty Yaniv</a>, 2019</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">photo: <a href="https://www.lenfestinstitute.org/profile/jim-friedlich/" target="_blank">Jim Friedlich</a> </span></div>
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<a href="https://1.bp.blogspot.com/-4ZVsR25lIr8/Xt5yP6eoK5I/AAAAAAAAUk4/S1Mp5Lk8AJwLwak0S-0CXhlMwEOuJBhUwCLcBGAsYHQ/s1600/Image%2B7.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="800" height="564" src="https://1.bp.blogspot.com/-4ZVsR25lIr8/Xt5yP6eoK5I/AAAAAAAAUk4/S1Mp5Lk8AJwLwak0S-0CXhlMwEOuJBhUwCLcBGAsYHQ/s640/Image%2B7.jpeg" width="640" /></a></div>
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<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Movable Cops</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">132” x 154” x 12”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Hand Etched Plexiglass on Movable Rack System, Aluminum, Mirrored Plexiglass, Wood, Paper, Charcoal on Cardboard, Clock Pendulum, Umbrella, Yellow Raincoat, MDF</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019-2020</span></div>
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<a href="https://1.bp.blogspot.com/-XezfO-1WbVs/Xt5yQcHIOVI/AAAAAAAAUk8/6sgf3kKrHy0BtYFLMYb2oAOq2kNwqYcuACLcBGAsYHQ/s1600/Image%2B8.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="640" src="https://1.bp.blogspot.com/-XezfO-1WbVs/Xt5yQcHIOVI/AAAAAAAAUk8/6sgf3kKrHy0BtYFLMYb2oAOq2kNwqYcuACLcBGAsYHQ/s640/Image%2B8.jpeg" width="480" /></a></div>
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<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Movable Cops</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">(Detail)</span></div>
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<a href="https://1.bp.blogspot.com/-eETbOEZBGx0/Xt5yOoalzAI/AAAAAAAAUko/pjvfpPcgBUIV8FOH4n48eZgx9wedpMk-QCLcBGAsYHQ/s1600/Image%2B4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="652" height="640" src="https://1.bp.blogspot.com/-eETbOEZBGx0/Xt5yOoalzAI/AAAAAAAAUko/pjvfpPcgBUIV8FOH4n48eZgx9wedpMk-QCLcBGAsYHQ/s640/Image%2B4.jpeg" width="520" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"> <span style="caret-color: rgb(0, 0, 0);">Corrections</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on 100% Rag Paper with Corrections Department Riot Shield</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">62” x 30” x 6”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019</span></div>
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<a href="https://1.bp.blogspot.com/-PB5xm62H18s/Xt5yQyqwmcI/AAAAAAAAUlA/qtitiuOisukMtdwDjMuE0P3EnBJYAlIiwCLcBGAsYHQ/s1600/Image%2B9.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="722" height="640" src="https://1.bp.blogspot.com/-PB5xm62H18s/Xt5yQyqwmcI/AAAAAAAAUlA/qtitiuOisukMtdwDjMuE0P3EnBJYAlIiwCLcBGAsYHQ/s640/Image%2B9.jpeg" width="576" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"> <span style="caret-color: rgb(0, 0, 0);">Cops in Full Tactical </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">96” x 96”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on 100% Rag Paper </span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">(this drawing is the one used to carve “Movable Cops”)</span></div>
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<a href="https://1.bp.blogspot.com/-c98MrzGTXKk/Xt5yJQvKntI/AAAAAAAAUkM/HrLWMEAKb_kdZjjUTq1ZaQE1VNaAgiKAACLcBGAsYHQ/s1600/Image%2B10.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="746" height="640" src="https://1.bp.blogspot.com/-c98MrzGTXKk/Xt5yJQvKntI/AAAAAAAAUkM/HrLWMEAKb_kdZjjUTq1ZaQE1VNaAgiKAACLcBGAsYHQ/s640/Image%2B10.jpeg" width="596" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><span style="caret-color: rgb(0, 0, 0);">2 Cops From The Occupying State</span><span class="Apple-converted-space" style="caret-color: rgb(0, 0, 0);"> </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on Cardboard<span class="Apple-converted-space"> </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">96” x 96”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019</span></div>
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<a href="https://1.bp.blogspot.com/-TAFuTgpxDiI/Xt5yJzWYBSI/AAAAAAAAUkY/cfnrOOdC7qgzb2gqx2wLja9saHasKiHpACLcBGAsYHQ/s1600/Image%2B13.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="640" src="https://1.bp.blogspot.com/-TAFuTgpxDiI/Xt5yJzWYBSI/AAAAAAAAUkY/cfnrOOdC7qgzb2gqx2wLja9saHasKiHpACLcBGAsYHQ/s640/Image%2B13.jpeg" width="480" /></a></div>
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<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Cop Hiding Inside His Helmet </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on 100% Rag Paper </span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">96” x 96”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019</span></div>
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<u><span style="font-family: arial, helvetica, sans-serif;">From the Artist's Statement:</span></u></div>
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<span lang="EN"><span style="font-family: arial, helvetica, sans-serif;">My art investigates what it means to become a man, especially in response to being confronted with my inability to protect my son, who was kidnapped in 1990.<o:p></o:p></span></span></div>
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<span lang="EN"><span style="font-family: arial, helvetica, sans-serif;">The dark forces behind what is considered to be “manhood’s rite of passage” was also instilled in me by a military upbringing and that rite’s travesty and horror as it is perpertrated daily throughout the world by our autocratic governments and police forces.<o:p></o:p></span></span></div>
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<span lang="EN"><span style="font-family: arial, helvetica, sans-serif;">Since March 2019 and the beginning of the protests for Democracy in Hong Kong the violence of the governmental police response has been overwhelmingly brutal. Students have been tortured, murdered, raped and disappeared without any repercussions for their abusers.<o:p></o:p></span></span></div>
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<span lang="EN"><span style="font-family: arial, helvetica, sans-serif;">The Umbrella and Yellow Raincoat have become powerful symbols for this movement and tools of passive resistance. The umbrellas are essential for deflecting the tear gas canisters and pepper spray used by police and the Yellow Raincoat is a stiring reminder of one that was worn by a young protestor who was thrown to his death from the upper levels of a parking garage.<o:p></o:p></span></span></div>
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<span lang="EN"><span style="font-family: arial, helvetica, sans-serif;">Add to this our current regime putting children in cages at our southern border, separating them permanently from their families or leaving them to die of disease and neglect and it becomes clear that our American “manhood, coming of age rituals” involve too many poseurs with guns and power untempered by morals or ethics.<o:p></o:p></span></span></div>
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<span lang="EN"><span style="font-family: arial, helvetica, sans-serif;">Our American “manhood coming of age rituals” involve too many poseurs with guns, power and no morals or ethics.<o:p></o:p></span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;">William Norton is an artist and curator living and working in Bushwick, Brooklyn. His work has been exhibited in the New York City area, Europe and in Japan where he was slated to curate six artists into the upcoming Kameyama Triennial when the pandemic struck and all travel was curtailed.<o:p></o:p></span></div>
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<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Occupying Forces</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">96” x 96”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on Cardboard </span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019</span></div>
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<a href="https://1.bp.blogspot.com/-vbQBfL5RuQ8/Xt5yJqDIr2I/AAAAAAAAUkU/aJVC66zp60o3rQ7EudGHZdPk6vZuUA8AgCLcBGAsYHQ/s1600/Image%2B12.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="665" height="640" src="https://1.bp.blogspot.com/-vbQBfL5RuQ8/Xt5yJqDIr2I/AAAAAAAAUkU/aJVC66zp60o3rQ7EudGHZdPk6vZuUA8AgCLcBGAsYHQ/s640/Image%2B12.jpeg" width="532" /></a></div>
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<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Cop Helmets </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">96” x 96”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on Cardboard </span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2019</span></div>
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<a href="https://1.bp.blogspot.com/-qRxt73qKw5U/Xt5yKQSDBsI/AAAAAAAAUkc/jIx8WWwxdd46AFF7F-b-AUMveyBHvjIdwCLcBGAsYHQ/s1600/Image%2B14.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="640" src="https://1.bp.blogspot.com/-qRxt73qKw5U/Xt5yKQSDBsI/AAAAAAAAUkc/jIx8WWwxdd46AFF7F-b-AUMveyBHvjIdwCLcBGAsYHQ/s640/Image%2B14.jpeg" width="480" /></a></div>
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<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Cop in Full Battle Gear with Baton </span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">97” x 48”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on MDF and Plywood with Pine Mending Plates</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2020</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">(Studio shot)</span></div>
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<a href="https://1.bp.blogspot.com/-gDsjN_sG-QY/Xt5yK9YTXoI/AAAAAAAAUkg/SCmPSxYZd8g6sBNXQV7-NalINdcPFPf_QCLcBGAsYHQ/s1600/Image%2B15.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="543" height="640" src="https://1.bp.blogspot.com/-gDsjN_sG-QY/Xt5yK9YTXoI/AAAAAAAAUkg/SCmPSxYZd8g6sBNXQV7-NalINdcPFPf_QCLcBGAsYHQ/s640/Image%2B15.jpeg" width="434" /></a></div>
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<font face="arial" size="1">Cop</font></div><div class="separator" style="clear: both; text-align: center;"><font face="arial" size="1">72" x 48"</font></div><div class="separator" style="clear: both; text-align: center;"><font face="arial" size="1">Charcoal, pastels on scavenged plywood with existing spray paint</font></div><div class="separator" style="clear: both; text-align: center;"><font face="arial" size="1">2020</font></div>
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<a href="https://1.bp.blogspot.com/-xsNTvr7yM_k/Xt5yPbP6QvI/AAAAAAAAUk0/olJVglSQeo4Jn5COBwptMIyjfRzglO7AQCLcBGAsYHQ/s1600/Image%2B6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="800" height="452" src="https://1.bp.blogspot.com/-xsNTvr7yM_k/Xt5yPbP6QvI/AAAAAAAAUk0/olJVglSQeo4Jn5COBwptMIyjfRzglO7AQCLcBGAsYHQ/s640/Image%2B6.jpeg" width="640" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Raft of the Medusa: Kids in Cages</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">60” 91”x1.5”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal, Pastels, Oil Stick, Tin Foil on 100% Rag Paper mounted and Framed in Artist Made & Painted Frame</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2020</span></div>
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<a href="https://1.bp.blogspot.com/-S0sC5MJbjSQ/Xt5yOworSaI/AAAAAAAAUlc/3ja_SMMcuz0-REeYZu2iVbQGOtdOZv5sgCEwYBhgLKs4DAL1OcqxrAJVnfmJ908OdTIlTPUf-ALFO_EaH21lWlmjCUlit3jd2MpGyo3YwvMBmM4fqoGq40oCH0sMitc-ZSJrGZTKfQ07Y0C0UlTZ4yJCuJb6g1StR3TaKGn75wqqLOgRGq0cH_9w7ajfZp2e6vCxH7R7-81OML1OlbAgj_YXA_XAxNCzGtqlmLsCeEBatwAgoUp9cyMdPkqk2cApFyxhUwBAbRTPTMkkGfKQSaGFlsdouEITG4L0Ozi0uVXcrPj27aj_6ACC4sVHzNZM0n65LHBIFaAHXX_HcjksEopnL_rE6UwSJmbdcded1UxnvcUj7AfadqbYKXRxOzuL3AgUgUoOHNIdlitadDTrRuv035cn5Qq37MJwDeLqJAqbGrzKCiTBLUC6Ma0ds6t6q-6f969u8hvUqChbKrAH-OC5gy2Ifb1He5H4nV1-DxWVTACgb6aEHWIRMdq6xxesuGLV3OjhfpsDFsrIQ5oBjG9NJCq29H53-7GpVVv2-2e9ADe7T9MNsbBAfnnIWhcds_DuGWx4MGnTIMC3D-09TVdTmZ-qhChUZBEyTS-vD8BOC4XLf8US80aWzIZvW0eILum_jmWL4UGcqk4_yuhMMMM_N__YF/s1600/Image%2B5.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="640" src="https://1.bp.blogspot.com/-S0sC5MJbjSQ/Xt5yOworSaI/AAAAAAAAUlc/3ja_SMMcuz0-REeYZu2iVbQGOtdOZv5sgCEwYBhgLKs4DAL1OcqxrAJVnfmJ908OdTIlTPUf-ALFO_EaH21lWlmjCUlit3jd2MpGyo3YwvMBmM4fqoGq40oCH0sMitc-ZSJrGZTKfQ07Y0C0UlTZ4yJCuJb6g1StR3TaKGn75wqqLOgRGq0cH_9w7ajfZp2e6vCxH7R7-81OML1OlbAgj_YXA_XAxNCzGtqlmLsCeEBatwAgoUp9cyMdPkqk2cApFyxhUwBAbRTPTMkkGfKQSaGFlsdouEITG4L0Ozi0uVXcrPj27aj_6ACC4sVHzNZM0n65LHBIFaAHXX_HcjksEopnL_rE6UwSJmbdcded1UxnvcUj7AfadqbYKXRxOzuL3AgUgUoOHNIdlitadDTrRuv035cn5Qq37MJwDeLqJAqbGrzKCiTBLUC6Ma0ds6t6q-6f969u8hvUqChbKrAH-OC5gy2Ifb1He5H4nV1-DxWVTACgb6aEHWIRMdq6xxesuGLV3OjhfpsDFsrIQ5oBjG9NJCq29H53-7GpVVv2-2e9ADe7T9MNsbBAfnnIWhcds_DuGWx4MGnTIMC3D-09TVdTmZ-qhChUZBEyTS-vD8BOC4XLf8US80aWzIZvW0eILum_jmWL4UGcqk4_yuhMMMM_N__YF/s640/Image%2B5.jpeg" width="640" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><span style="caret-color: rgb(0, 0, 0); text-align: start; text-size-adjust: auto;">Bomb Site:20/20</span><span style="caret-color: rgb(0, 0, 0); text-align: start; text-size-adjust: auto;"></span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">36”x36”x6.5”</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Charcoal on 100%rag paper, Fluorescent Light, Wood, Paint, Blue Plexiglass </span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">2020</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Floor Piece</span></div>
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Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-53510597642117748542020-05-21T08:20:00.000-07:002020-05-21T08:20:33.328-07:00A Great Loss: Susan Rothenberg 1945 - 2020<br />
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<a href="https://1.bp.blogspot.com/-Nt-ZN7sgdwY/XsaY5L9ZPUI/AAAAAAAAUjg/7yjCGw6HxI00bERiwzZT3K4QrnZtd73CwCLcBGAsYHQ/s1600/Screen%2BShot%2B2020-05-21%2Bat%2B11.04.05%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="722" height="506" src="https://1.bp.blogspot.com/-Nt-ZN7sgdwY/XsaY5L9ZPUI/AAAAAAAAUjg/7yjCGw6HxI00bERiwzZT3K4QrnZtd73CwCLcBGAsYHQ/s640/Screen%2BShot%2B2020-05-21%2Bat%2B11.04.05%2BAM.png" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> <b>Susan Rothenberg </b>in her studio. Photograph by Jason Schmidt / Courtesy Sperone Westwater</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>"I was searching for an image and all I had to find it with was my head and my hand . . . That's what a painter is a hand and a head."</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">-Susan Rothenberg</span></div>
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<a href="https://1.bp.blogspot.com/-m5Jfo2pAbCo/XsaY4cjU6uI/AAAAAAAAUjY/_JZ-lk4K3kA9b8antoHqRHcdZLvLLC8JgCLcBGAsYHQ/s1600/85_437_v1_KW_200803_w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="599" height="640" src="https://1.bp.blogspot.com/-m5Jfo2pAbCo/XsaY4cjU6uI/AAAAAAAAUjY/_JZ-lk4K3kA9b8antoHqRHcdZLvLLC8JgCLcBGAsYHQ/s640/85_437_v1_KW_200803_w.jpg" width="638" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>Blue Head</b>, 1981</span></div>
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<a href="https://1.bp.blogspot.com/-0tBw9rVCuxY/XsaY4l0gc0I/AAAAAAAAUjc/uuAaNa_V6TUz4NYSap-Vl4vh_IZqbI8sACLcBGAsYHQ/s1600/Screen%2BShot%2B2020-05-21%2Bat%2B10.56.16%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="470" data-original-width="529" height="566" src="https://1.bp.blogspot.com/-0tBw9rVCuxY/XsaY4l0gc0I/AAAAAAAAUjc/uuAaNa_V6TUz4NYSap-Vl4vh_IZqbI8sACLcBGAsYHQ/s640/Screen%2BShot%2B2020-05-21%2Bat%2B10.56.16%2BAM.png" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b> 5 Eyes (Study)</b>, 1997</span></div>
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<a href="https://1.bp.blogspot.com/-ZKUQi79dago/XsaY4ZCm0oI/AAAAAAAAUjU/-EKkdlQPcC0yjjZCHya-a5MPwAsJglFwgCLcBGAsYHQ/s1600/Screen%2BShot%2B2020-05-21%2Bat%2B11.02.31%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="599" height="512" src="https://1.bp.blogspot.com/-ZKUQi79dago/XsaY4ZCm0oI/AAAAAAAAUjU/-EKkdlQPcC0yjjZCHya-a5MPwAsJglFwgCLcBGAsYHQ/s640/Screen%2BShot%2B2020-05-21%2Bat%2B11.02.31%2BAM.png" width="640" /></a></div>
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<b> </b><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>Installation view</b>: Susan Rothenberg: The Mayor Gallery Recent Paintings, 12 Feb - 15 Mar, 1980</span></div>
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<a href="https://1.bp.blogspot.com/-_Ydz46KqQ30/XsaY5iX_G0I/AAAAAAAAUjk/qDWwHWqqF5gQWozeIRf0v8mqDCbY5bVogCLcBGAsYHQ/s1600/bomb_11_rothenberg_body.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="590" data-original-width="800" height="472" src="https://1.bp.blogspot.com/-_Ydz46KqQ30/XsaY5iX_G0I/AAAAAAAAUjk/qDWwHWqqF5gQWozeIRf0v8mqDCbY5bVogCLcBGAsYHQ/s640/bomb_11_rothenberg_body.jpg" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b>Red Swans</b>, 1982</span></div>
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Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-75784006525645602482020-05-21T07:50:00.000-07:002020-05-21T07:50:56.030-07:00RIP, Richard Anuskiewicz: 1930 - 2020<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-c1sKRj7XWCA/XsaR6G1ReXI/AAAAAAAAUjA/SLsM3fRYltQwDDtSBkAb-K6MKVRgFqXmACLcBGAsYHQ/s1600/Screen%2BShot%2B2020-05-21%2Bat%2B10.35.21%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1230" data-original-width="1344" height="584" src="https://1.bp.blogspot.com/-c1sKRj7XWCA/XsaR6G1ReXI/AAAAAAAAUjA/SLsM3fRYltQwDDtSBkAb-K6MKVRgFqXmACLcBGAsYHQ/s640/Screen%2BShot%2B2020-05-21%2Bat%2B10.35.21%2BAM.png" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"> Richard Anuszkiewicz, 1978, Light Magenta Square, acrylic on canvas, 60 x 60 in.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>"Art has been a way of life for me. I have never done anything else. Art was something I needed to say. It made life more than existence. I just hope that in 100 years people aren't worried about when I did something, but what I did."</i></span></div>
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<a href="https://1.bp.blogspot.com/-oSaH2KUQ5E4/XsaS0K0czWI/AAAAAAAAUjI/kntNCWAVLCUk0JBRrI7Q30RPzYb9uwlOQCLcBGAsYHQ/s1600/unnamed-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="428" data-original-width="425" height="200" src="https://1.bp.blogspot.com/-oSaH2KUQ5E4/XsaS0K0czWI/AAAAAAAAUjI/kntNCWAVLCUk0JBRrI7Q30RPzYb9uwlOQCLcBGAsYHQ/s200/unnamed-3.jpg" width="198" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #101010;">Anuszkiewicz's geometric paintings dazzle the mind and eye with their exquisite use of color, seeming to glow with an inner light. In a 1985 </span><i style="color: #101010;">New York Times</i><span style="color: #101010;"> article, David Shirey wrote: "[w]e would not know so much about color today, nor feel so much about it, were it not for Richard Anuszkiewicz. He has changed the way we think about and respond emotionally to color, and has even affected our spiritual response to it." His work has inspired us, challenged us, and, in poetic fashion, connected us with our spirits. In Anuszkiewicz's words:</span></span></div>
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<span style="color: #101010; text-align: start;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>"[l]ike the Impressionists, I want the viewer to mix the colors in his eye. I do not want to mix them on the palette. This way, I get greater intensity of color and greater purity, too. Unlike the Impressionists, however, I've freed such explorations from subject matter and discovered greater freedom in non-objective art."</i></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anuszkiewicz is considered one of the founders and giants of Op Art in America, although he maintains that he doesn't belong to a group, and his work has also been described as perceptual art and scientific art. In the era since that movement was defined and celebrated (roughly speaking the first half of the 1960s) his work has either been rebelled against - for example by Minimalists such as Donald Judd - or praised, criticized or emulated. But it has rarely been ignored. In pop culture, meanwhile, his work, and that of the Op Art movement more generally, would prove influential on the fashion, advertising and music industries. </span><span style="font-family: Arial, Helvetica, sans-serif;">These external responses to Anuszkiewicz's art, however, have rarely impacted on the personal vision which has guided his development. His longevity, meanwhile, has ensured that this vision continues to invigorate the Op Art movement half a century after its conception. As Dennis Dooley wrote: "Anuszkiewicz's paintings force us, again and again, and in wonderfully imaginative ways, to reflect on our experience as human beings in a physical world - as well as one defined by cultural associations."</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://www.theartstory.org/artist/anuszkiewicz-richard/life-and-legacy/" target="_blank">-From The Art Story</a> </span></div>
Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-40420568240318029852020-05-18T10:50:00.003-07:002020-05-18T11:00:05.933-07:00Art During Lockdown at Plan B. Artist Studios: Unnati Singh and Siddhartha Kararwal<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, From the project, <i>Stoned</i>, 2020<br />Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020<br /><br /></span></td></tr>
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In March and April during the height of the Coronavirus pandemic Unnati Singh and Siddhartha Kararwal, two visiting artists from India, experienced weeks in lockdown unable to return home.</div>
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Below is a photo essay by <a href="https://research.ncl.ac.uk/connectingprinciple/bios/francisgomila.htm" target="_blank">Francis Gomila</a> that serves as a striking record of the artists working through that experience.</div>
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<div class="separator" style="clear: both; text-align: left;"><a href="https://www.plan-b-artist-studios.com/index.html" target="_blank">PLAN B. Artist Studios</a> is an artist mentoring residency program in which invited artists run a variety of innovative residencies, art encounters, workshops and retreats.</div>
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The program was founded and is directed by the artist, Francis Gomila.</div>
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*</font>All images <span style="background-color: white; color: #4d5156;">© The Artists and Plan B. Artist Studios</span></font></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Artists in residence at Plan B. Artist Studios: Unnati Singh (Mumbai) and Siddhartha Kararwal (Jaipur) </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<u><a href="https://www.facebook.com/UnnatiSinghStudio/" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Unnati Singh</span></a></u><br />
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<span style="box-sizing: inherit; overflow-wrap: inherit; text-size-adjust: none !important;"><span style="font-family: arial, helvetica, sans-serif;">Unnati Singh's artworks are an exploration into unfamiliar territories, journeys into uncharted dimensions, which aims to reveal parallel worlds in which conscious and subconscious clash into each other.</span></span></div>
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<span style="box-sizing: inherit; overflow-wrap: inherit; text-size-adjust: none !important;"><span style="font-family: arial, helvetica, sans-serif;">Singh lives and works in Mumbai, India.</span></span></div>
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<span style="box-sizing: inherit; overflow-wrap: inherit; text-size-adjust: none !important;"><u><a href="https://www.facebook.com/cnnnews18/videos/2683712548328135/" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Siddhartha Kararwal</span></a></u></span></div>
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<span style="box-sizing: inherit; overflow-wrap: inherit; text-size-adjust: none !important;"><span style="font-family: arial, helvetica, sans-serif;">"My practice responds to the space /site I am working in. I see each work of art as an alternative method of recording time which allows me to create a new narrative for my art and my own practice in each case."</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Siddhartha Kararwal lives and works in Jaipur, India.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, <i>Olive Press</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, <i>Olive Press</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, <i>Stoned</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, <i>Stoned</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Siddhartha Kararwal, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Siddhartha Kararwal, <i>Allegory 20/20</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Video still from <i>Allegory 20/20</i>. A video performance by Siddhartha Kararwal, 2020</span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">See video <a href="https://vimeo.com/399421294" target="_blank">(HERE)</a> Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila Films 2020</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-6HYWal1T0R4/XsK1SgXqpiI/AAAAAAAAUhI/vZBkgEGskZEurQk64AF5pK8w6cCpiz3sQCLcBGAsYHQ/s1600/89722042_1072027476523663_7610404340221607936_o.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-6HYWal1T0R4/XsK1SgXqpiI/AAAAAAAAUhI/vZBkgEGskZEurQk64AF5pK8w6cCpiz3sQCLcBGAsYHQ/s640/89722042_1072027476523663_7610404340221607936_o.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Siddhartha Kararwal and Unnati Singh, Plan B. Artist Studios, March / April, 2020<br />Photo courtesy of the artists.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, <i>Web</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, <i>Web</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Siddhartha Kararwal, <i>Hot Spot</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-JmYleZisrwM/XsK3eBJBu_I/AAAAAAAAUiY/PNUWmmh12wYRDE29InImPaqaRr5acuRXgCLcBGAsYHQ/s1600/IMG_5201.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="704" data-original-width="940" height="478" src="https://1.bp.blogspot.com/-JmYleZisrwM/XsK3eBJBu_I/AAAAAAAAUiY/PNUWmmh12wYRDE29InImPaqaRr5acuRXgCLcBGAsYHQ/s640/IMG_5201.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Unnati Singh, <i>Fragile</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Siddhartha Kararwal, from <i>Allegory 20/20</i>, 2020 </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo </span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">© Francis Gomila 2020</span></td></tr>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><a href="http://structureandimagery.blogspot.com/2018/10/a-quick-check-in-with-unnati-singh.html" target="_blank"><font face="arial" size="2">A Quick Check-In with Unnati Singh</font></a></span></div>
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<a href="http://structureandimagery.blogspot.com/2014/09/unnati-singh-from-emoticon-series.html" target="_blank">Unnati Singh: From the Emoticon Series</a></div>
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<a href="http://structureandimagery.blogspot.com/2019/02/between-threads-by-unnati-singh-at.html" target="_blank">Between the Threads by Unnati Singh, at the Hindustan Times PALATE Festival</a></div>
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<a href="http://structureandimagery.blogspot.com/2014/03/painters-i-admire-greatly.html" target="_blank">Painters! (I Admire Greatly)</a></div>
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<h3 class="post-title entry-title" style="background-color: white; color: #111111; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 22px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal; margin: 0.75em 0px 0px; position: relative;">
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Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-58928847424830094112020-05-04T10:37:00.005-07:002020-05-04T13:17:20.622-07:00Bram Bogart and the Circle Motif<br />
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<a href="https://1.bp.blogspot.com/-Ek4HWj9aEDs/XrBD7WS0YRI/AAAAAAAAUgA/YKF2kYC3zKAGoKM0-nhCzqnccFiOgw1hwCEwYBhgL/s1600/image10.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="638" height="640" src="https://1.bp.blogspot.com/-Ek4HWj9aEDs/XrBD7WS0YRI/AAAAAAAAUgA/YKF2kYC3zKAGoKM0-nhCzqnccFiOgw1hwCEwYBhgL/s640/image10.jpeg" width="480" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">The book, Bram Bogart by Francine-Claire Legrand</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Lannoo, 1988 </span></div>
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<span style="font-family: arial, helvetica, sans-serif;">The following images of the artist and his work come from the book Bram Bogart (ISBN 90 209 1567 3) by Francine-Claire Legrand and was published by Lannoo in 1988.</span><br />
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<span style="font-family: arial, helvetica, sans-serif;">Images of Bogart's work below focus on his employment of the circle motif - - - </span><br />
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<span style="font-family: arial, helvetica, sans-serif;"><i><font face="arial" size="2"><span style="font-family: arial, helvetica, sans-serif;">All content of this post </span><span style="background-color: white; color: #111111;">© <a href="https://www.instagram.com/brambogartfoundation/" target="_blank">The Bram Bogart Foundation</a> ,and <a href="https://www.lannoo.com/" target="_blank">Uitgeverij Lannoo, Tielt </a>and </span><span style="background-color: white; color: #111111;">respective copyright holders.</span></font></i></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Bram Bogart (1921 - 2012)</span></div><div style="text-align: center;"><font face="arial" size="1"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Photo by </span><span style="background-color: white; color: #262626; text-align: left;"> Harry Shunk, 1984</span></font></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Blue Darling, 1982</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Lechapeauderubens, 1983</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"> Blauwcirkelgeel, 1974</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Summerlove, 1984</span><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Bram Bogart, Rue Santeuil, Paris 1958</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Place de Londres, 1986</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Geelcirkelblauw, 1974</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Tête d'Or, 1984</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"> Bloemhof, 1984</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Bram and Leni Bogart <span style="background-color: white; color: #222222;">by Harry Shunk & Janos Kender 1959, Paris, rue Santeuil</span></span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Cercle blanc et rouge, 1967</span></div>
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<a href="https://1.bp.blogspot.com/-wp31UxgmgUA/XrBD9VPmanI/AAAAAAAAUfE/BodEg-lihWIRj2cl3k60MFrRomsHyMySQCEwYBhgL/s1600/image4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="847" data-original-width="850" height="636" src="https://1.bp.blogspot.com/-wp31UxgmgUA/XrBD9VPmanI/AAAAAAAAUfE/BodEg-lihWIRj2cl3k60MFrRomsHyMySQCEwYBhgL/s640/image4.jpeg" width="640" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"> Fleurflower, 1982</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"> Linkebeek, 1985</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Blau de Delft, 1982</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Bram and Leni Bogart with their children, Manoir d'Ohain, 1969</span></div>
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<a href="https://1.bp.blogspot.com/-zg8Yzvc0axg/XrBD-NhbToI/AAAAAAAAUfU/fyiIAQ2ilxcEeRneCN5thNMqtbpvanaAACEwYBhgL/s1600/image5.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="850" height="264" src="https://1.bp.blogspot.com/-zg8Yzvc0axg/XrBD-NhbToI/AAAAAAAAUfU/fyiIAQ2ilxcEeRneCN5thNMqtbpvanaAACEwYBhgL/s640/image5.jpeg" width="640" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Rondrosewit, 1965</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"> Feuilles, 1982</span></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Volgende bladzijden: Yellowjaune (along with Cobalt and Redrouge, mke up the piece), 1984</span></div>
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<br />Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com0tag:blogger.com,1999:blog-6908943923710995894.post-73258849194875518152020-04-29T13:14:00.006-07:002020-04-29T18:08:30.234-07:00Gary Giordano Confronts Fear and Dread in a Time of Pandemic<br />
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<a href="https://1.bp.blogspot.com/-cCjRwqqf-gI/XqnNhtrx2hI/AAAAAAAAUcg/De0sw91A3QU25jtdI5Cvf7SDKzQbFyLiQCLcBGAsYHQ/s1600/IMG_4787.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="794" height="640" src="https://1.bp.blogspot.com/-cCjRwqqf-gI/XqnNhtrx2hI/AAAAAAAAUcg/De0sw91A3QU25jtdI5Cvf7SDKzQbFyLiQCLcBGAsYHQ/s640/IMG_4787.jpeg" width="508" /></a></div>
<div style="text-align: center;"><font face="arial" size="2">(Detail)</font></div><div style="text-align: center;"><font size="1"><br /></font></div><div style="text-align: left;"><font face="arial" size="4"><br /></font></div><div style="text-align: left;"><font face="arial" size="4">The paintings in Gary Giordano's new series come face to face with the anxiety-riddled moment of fear and loss we all find ourselves in.</font></div><div style="text-align: left;"><font face="arial" size="4">The works confront this anxiety in the tradition of the Expressionist painters of Germany (both past and current)</font></div><div style="text-align: left;"><font face="arial" size="4">and the </font><font face="arial" size="4"><span style="background-color: white; color: #111111; text-align: justify;">series of prints known as the </span><span style="background-color: white; color: #111111; font-style: italic; margin: 0px; padding: 0px; text-align: justify;"><a href="http://structureandimagery.blogspot.com/2015/11/some-skeletons-from-georges-rouaults.html" target="_blank">Miserere </a></span><span style="background-color: white; color: #111111; margin: 0px; padding: 0px; text-align: justify;"><a href="http://structureandimagery.blogspot.com/2015/11/some-skeletons-from-georges-rouaults.html" target="_blank">by Georges Rouault</a>.</span></font></div><div style="text-align: left;"><font face="arial" size="4"><span style="background-color: white; color: #111111; margin: 0px; padding: 0px; text-align: justify;"><br /></span></font></div><div style="text-align: center;"><font size="1"><br /></font></div>
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</font><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><span style="background-color: white;"><font size="2">Gary Giordano in his studio last year, Lambertville, NJ</font></span></span></font></div>
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<span style="font-family: arial, helvetica, sans-serif; font-size: x-small;"><span style="background-color: white;"><font face="arial" size="2">Photo <span style="color: #111111;">©</span> Paul Behnke 2020</font></span></span></div>
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<br /></div><div style="text-align: center;"><br /></div><font face="arial" size="4">"The paintings are my response to the pandemic; to the situation we all find ourselves in.<br />I began painting what I thought the face of the disease would look like but sometimes the original<br />intention of a painting is dropped and maybe something else is resolved.<br />I don't always know what that is. I figure it out later.<br />These are dark but I think, in time, I may see them differently. It's something that you begin<br /></font><div style="text-align: left;"><font face="arial" size="4">and continue on with because you feel your circumstance and experience compel you to."</font></div><div style="text-align: left;"><font face="arial" size="4"><br /></font></div><div style="text-align: left;"><font face="arial" size="4">-Gary Giordano</font></div><div><br /></div><span><a name='more'></a></span><div><br /></div><div> </div><div style="text-align: center;"><br /></div>
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<a href="https://1.bp.blogspot.com/-w3maxD6yqaI/XqnNgH1Ra3I/AAAAAAAAUcQ/C0Ulo6qp4WYRFUFkjTVgluwH2TVbhM7sQCLcBGAsYHQ/s1600/IMG_4623.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="640" src="https://1.bp.blogspot.com/-w3maxD6yqaI/XqnNgH1Ra3I/AAAAAAAAUcQ/C0Ulo6qp4WYRFUFkjTVgluwH2TVbhM7sQCLcBGAsYHQ/s640/IMG_4623.jpeg" width="480" /></a></div>
<div><br /></div><div style="text-align: center;"><div class="separator" style="background-color: white; clear: both; color: #111111; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 15.4px;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div><div class="separator" style="clear: both;"><font face="arial" size="4" style="background-color: white;">"For me, painting is a way to forget life.</font></div><div class="separator" style="clear: both;"><font face="arial" size="4" style="background-color: white;">It is a cry in the night, a strangled laugh."</font></div><div class="separator" style="clear: both;"><font face="arial" size="4" style="background-color: white;"><br /></font></div><div class="separator" style="clear: both;"><font face="arial" size="4" style="background-color: white;">-Georges Rouault</font></div><div class="separator" style="background-color: white; clear: both; color: #111111; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 15.4px;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div></div><br />
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<div style="text-align: center;"><font face="arial" size="1">Studio view, Philadelphia, PA</font></div><div><br /></div><div><br /></div><br />
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<a href="https://1.bp.blogspot.com/-N9pUfx4LPoM/XqnNi7aCIZI/AAAAAAAAUcs/AONNb-CL3pw_J-eKy8UsNfXEEZyteyHgwCLcBGAsYHQ/s1600/IMG_4831.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="640" src="https://1.bp.blogspot.com/-N9pUfx4LPoM/XqnNi7aCIZI/AAAAAAAAUcs/AONNb-CL3pw_J-eKy8UsNfXEEZyteyHgwCLcBGAsYHQ/s640/IMG_4831.jpeg" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><font face="arial" size="2">All works <span style="background-color: white; color: #111111; font-size: 14px;">© Gary Giordano 2020</span></font></div>
<br />Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com2tag:blogger.com,1999:blog-6908943923710995894.post-20909043378011959082020-04-27T06:12:00.006-07:002020-04-29T06:33:47.510-07:00Bill Jensen, Raindance (Drawing for Shaman)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-29B6ivqwtM8/XqbYZPc3CNI/AAAAAAAAUaA/5HOPqQdWb7QeSSuOdIahIeJv1OlmIse6ACLcBGAsYHQ/s1600/cri_000000428455.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1204" height="640" src="https://1.bp.blogspot.com/-29B6ivqwtM8/XqbYZPc3CNI/AAAAAAAAUaA/5HOPqQdWb7QeSSuOdIahIeJv1OlmIse6ACLcBGAsYHQ/s640/cri_000000428455.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Bill Jensen, Raindance (Drawing for Shaman), 1980-81<br />Egg tempra, gouache, pastel and charcol on paper<br />MoMA </span><font size="1">© 2020 Bill Jensen</font></td></tr>
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<font color="#ffffff" face="arial, helvetica, sans-serif"><span style="background-color: black;"><br /></span></font><div><font face="arial, helvetica, sans-serif"><span style="background-color: white;">This Bill Jensen drawing has always felt like arrested motion and time stopped to me.</span></font></div><div><font color="#ffffff" face="arial, helvetica, sans-serif"><br /></font>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rUYFP4T8k0Y/XqbZy0zm1VI/AAAAAAAAUaM/YCxuLvAT_twXj-bi0IHnCHxMEzl0NhllACLcBGAsYHQ/s1600/unnamed.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="267" data-original-width="400" height="426" src="https://1.bp.blogspot.com/-rUYFP4T8k0Y/XqbZy0zm1VI/AAAAAAAAUaM/YCxuLvAT_twXj-bi0IHnCHxMEzl0NhllACLcBGAsYHQ/s640/unnamed.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial, helvetica, sans-serif; font-size: x-small;">Bill Jensen</span></td></tr>
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<br /></div>Paul Behnkehttp://www.blogger.com/profile/02218607126073374220noreply@blogger.com1