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Reception & Book Signing: Henrieke Strecker & Maggie Taylor at Verve Gallery

Posted By Administration, Tuesday, April 30, 2013
Updated: Monday, December 2, 2013
No Ordinary Days

Exhibition Dates: May 17 - June 22

Opening Reception and Book Signing:
Friday, May 17
5:00 - 7:00 pm

The work of Maggie Taylor and Henrieke Strecker are unusual and alluring. They are infused with mystery and a plethora of untold dramas that shift and move with us. With each viewing we discover different stories behind the work. This well-chosen pairing of artists, who both draw on discoveries, fragments, even common forms, reminds us that all is not what it seems, and they allow us to play with layers of possibility.

A selection of work from Maggie Taylor's recent retrospective publication, No Ordinary Days, which draws on works created from 1998 - 2012, to be presented. Taylor continues her use of scanning and enhancing vintage daguerreotypes, tintypes, figurines, illustrations and photographs with exceptional result. The works are infused with nostalgia, in part because of their starting points, and in part because of their ability to tug on the threads of our own past- the memories, fears, dreams, and fantasies of our childhood. The works are fantastic as ever, and notable new pieces include The Divide, an image which both separates and connects a pair of sisters; Magnificent Obsession, the expansive and detailed vision of an elegant gent, perhaps a scientist or explorer, with clear blue eyes that pierce and sink as layers of a coral pattern lift from his vest and stretch to almost cover the print; and Home is a Memory a tragically charmed piece of a once elegantly dressed woman now literally crumpled, she clings to her role of protector even though her own stability seems paper-thin.

Also on view are well-chosen works by German-born and New Hampshire-based artist Henrieke Strecker. Strecker too uses alternative processing to create her images. She teaches The Art of Photography (analog photography) & Historic Photographic Processes at Plymouth State University in New Hampshire. Her photogravures are all drawn from a process of reduction. Strecker uses elements, forms, shadows, shapes from the surroundings of her own back yard to reveal the "fields of vision hidden well beneath the surface" (Verve). The resulting images are haunting- both clear and undefined. Scale seems at times hard to determine and we can not always be sure if what we are looking at is macroscopic or microscopic. This inability to define with certainty keeps the work fluid and malleable and our assigned narratives are open to shift and be redefined. There is also a tension between serenity and chaos. In works like The Pilgrim it is unclear if what we want to define as a figure is holding back or about to be enveloped by the coming darkness.

For more information on the exhibition, please visit Verve Gallery

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CNN Review: TOSHIO SHIBATA at Laurence Miller Gallery

Posted By Administration, Tuesday, April 30, 2013
Updated: Monday, December 2, 2013

Through May 25, 2013

Japanese photographer Toshio Shibata's work focuses on where man and nature meet. These seemingly mundane moments are at times hard to define and focus on what could better be described as civil engineering subjects rather than landscapes. The works are structured yet dynamically balanced, archetectural and flat. Their beauty emerges from their sense of harmony and of contradiction. While the strategies of portraying the landscape in Japan differs from that of the West, with a focus on the harmony between man and nature rather than a window onto a scene, neither society necessarily celebrates the language that Shibata has made his own. Shibata has turned his lens on dams, buoys, bridges, and water treatment facilities; this makes his work unusual. Rather than the subject being alluring in itself, it is Shibata's handling, framing, and sensibility that holds the attention of viewers.

Shibata works with a large format camera that allows for visual clarity and through these crystal frames light, texture, and rhythm are at play working to elevate the seemingly simple, even ugly subjects. There is something undeniable about these works. They are highly seductive. Perspective shifts and moves in what we first identify as buttons or stitches in Chichibu City, 2006, but actually the picture reveals itself to be an arial view of a very large string of buoys. A hazy green pond provides perfect reflection in Okutama Town, Nishitama County, Tokyo, 2006 for a

staked and floating divider that we want to make into the tale of a creature. Several waterfall images simply mesmerize: wiry underbrush is cold and rough and balances well against the sheer stream of water over a dam in Nikko City, 2008 and water sharp yet rhythmic cascades in broken but steady form over another dam in Kawachi Town, 1998.

For more information on the exhibition please visit Laurence Miller Gallery

CNN Review

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Artist's Reception: Daniel Gordon at M+B Galelry

Posted By Administration, Monday, April 29, 2013
Updated: Tuesday, December 3, 2013
The Green Line

Exhibition Dates: May 18 - June 29, 2013

Opening Reception with the artist:
Saturday, May 18

6:00 - 8:00 pm

Daniel Gordon's work is curiously fresh but solidly linked to the history of collage. Images are sourced from our every day- the internet, but markedly different as they were not always physically tangible. Found images are collected, fragmented, and reconfigured to complete Gordon's portraits and still-lives. The foundations of the image, its very stability is called into question as Gordon will draw form together from pieces only to pull them back apart and possibly reuse them again in a later combination. The work speaks to and with shift and movement. The forms are built dimensionally then photographed, so a litteral dimension is given to configured planes. Size and scale is given only the degree of attention it needs to suffice, but leaves the works rough and with the signs of creation at the surface. The palate is bold with primary and secondary colors often become structurally important; depth is created with shadows of one plane falling on another. The works are smart, and raise questions about the permanence of an image, but remain playful and dynamic as they continue to unfold new possibilities.

Mörel has published Gordon's fourth monograph titled Still Lifes, Portraits & Parts, which will be available at the gallery.

For more information on the exhibition & monograph please visit M+B Gallery

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Artist's Reception: Arne Svenson at Julie Saul Gallery

Posted By Administration, Saturday, April 20, 2013
Updated: Thursday, December 19, 2013

The Neighbors

Exhibition Dates: May 9-June 29, 2013

Artist's Reception:
Saturday, May 11
6:00 - 8:00 pm

The work of self-taught artist, Arne Svenson has its own whit and moves from subject to subject in ways that may first seem without thread. Deeper engagement with his work reveals that it is unified by a unique sense of humor and fatalism as well as a social anthropological view. Past subjects have included flora, sock monkeys, prisoners, and forensic sculptures. The trigger for Svenson's subjects have been random experiences that places new objects or equipment in his hands, and all of the past work has been confined to studio practice. His new series,The Neighbors, however, was sparked by a bird watching telephoto lens, and caused Svenson to looks outward. The executed works are voyeuristic, but also undeniably fascinating studies on the behavior of neighbors in an opposing high-rise.

Svenson sits in wait, like James Stewart in Alfred Hitchcock's Rear Window, "waiting for those curtains to part again and for the tableaux to materialize" (Saul Press Release). Svenson views the process as a performance- his subjects appear on a stage of their own creation and move in roles of their own design. The images Svenson brings to us are surprisingly elegant, formal, and strangely recall palate and rhythm of art history's masters from Delacroix to Vermeer. The muted saturation and folding cloth in a wrapped curtain and the lines of a blue rain jacket in Neighbors #2 is truncated and curious but particularly painterly. Window panes create a gridded structure that divides, balances, or fractures frames; curtains both obscure and reveal secrets. Neighbors #1 is cool, quiet and balanced and features a couple at what we imagine to be their breakfast table, and the frames of glass enrich the sense of balance and structure to the interior view. Other frames cut our access to a scene and we are left to guess at situations, as in Neighbors #8 where a seated pregnant woman sits in profile her arms wound behind her back, or the calamitous dispute leading to continued attack among siblings in Neighbors #6 where sister and brother are being literally separated. All of these works call for applied narrative and since they leave everything ambiguous, open, and unexplained we find ourselves in Svenson's place, quietly watching and wondering at what is happening behind the glass.

For more information, please contact Julie Saul Gallery

Review in Photograph Magazine

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Artist's Reception: Natalie Robertson at McNamara Gallery

Posted By Administration, Saturday, April 20, 2013
Updated: Tuesday, December 3, 2013
The Headlands Await Your Coming

Exhibition Dates: May 4 – 31, 2013

Reception with the Artist:
Saturday 4th May

5:30 pm

The title of this exhibition is drawn from Hone Tuwhare's poem: Song from: No Ordinary Sun. In maori tribal contexts Ahi kaa is a cornerstone principle of land rights. In an era during which urban drift and migration abroad depopulates small rural communities, the people who remain on tribal land continue the values of a centuries-old practice called ahi-kaa-roa, literally the long burning fires of occupation. Others return seasonally or when occasions call, to contribute to keeping marae 'warm' through usage. 

This body of work approaches marae and surrounding tribal lands as a lived space in which intergenerational use keeps the fires burning. There is something urgent and mournful about the work. We feel something being grasped for, something pulled back into memory.

About the Artist:
Natalie Robertson (Ngati Porou, Clan Donnachaidh) is an established exhibiting photographic artist, making photographic and moving image works that explore Maori knowledge practices and cultural landscapes. A Senior Lecturer at AUT University, Auckland, New Zealand, she received an MFA (First Class Honours) from the University of Auckland and is enrolled in a PhD programme at Massey University researching photography in Maori contexts. Robertson's practice engages with conflicting settler and indigenous relationships to land and place. She has exhibited extensively in public institutions throughout New Zealand and internationally (including China, USA, England, France, Germany, Lithuania, Denmark, Brazil, Rarotonga, Australia). 

For more information on the exhibition, please visit McNamara Gallery

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