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New Yorker Review: Ray K. Metzker & Michael Becotte at Laurence Miller Gallery

Posted By Administration, Wednesday, October 9, 2013
Updated: Monday, October 14, 2013

Through October 26, 2013

This two-person show parallels the 1970's natural abstractions of Ray K. Metzker and Michael Becotte. Both artists' works reveal their interest in depicting things beyond the documentary sense. These translations of the natural world into abstracted visions are playful, graphic, and open to our own interpretation.


Metzker's tile-like collage series Whimsy has been seen before in sections but never before have so many of these unique images been shown together; 36 will be included in the exhibition. The images read like Rorschach tests and its our own mind and memory that give reason to the shapes and forms.

While Becotte's frames bare more identifying features they remain abstract and even haunted. Use of the strobe light in the dark makes everyday flora appear other-worldly and even he artist himself appears as apparition in these works from the 1973-76 Luminations series.

 

For more information on this exhibition please visit Laurence Miller Gallery


New Yorker Review

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Artists' Opening Reception: Simone Kappeler and Philippe Monsel at Esther Woerdehoff Gallery

Posted By Administration, Friday, September 27, 2013
Updated: Monday, October 14, 2013
Through America

Exhibition Dates: October 8 - November 2, 2013

Opening with the Artists:
Tuesday, October 8th

6:00 - 9:00 pm


Two parallel visions of American culture will be presented through the works of Simone Kappeler and Philippe Monsel. The artists' works are separated by time but together are linked not only by subject, but a somewhat cinematic approach. For Kappeler this is achieved by mood and framing, and for Monsel through multiple and repetitious vision.

The images of Kappeler are charged by sentiments that elude us, and there is something tangible and yet fleeting to her frames. This may be because the works date to a trip she took to the US in 1981, or because she employed a toy camera to make the work. Probably both truths lend to a just-out-of-reach feeling as well as a nostalgic vision of America. Some of the images are easily read, White Sands I, 28.6.1981 is an idilic family day at the beach; Atascandero Drive-In eating II is a daily routine; and Mississippi III, 16.6.1981 an environmental-type portrait of a couple. More interesting and dramatic works leave details to the imagination. Cropping and framing fragments images and when not everything is revealed we are left to connect the dots and create the stories left in these frames. In Erie-See, 10.6.1981 a boy turns to look over his shoulder and out the window of a red car at something unknown; Elk City, Oklahoma, Pool III, 23.6.1981 features a shadowed figure in a pool, and we can't tell if he is facing towards or away from us; and Garten Maconi II, 30.5.1981 is strangely lacking presence and even the time of day seems confused. Color is rich, almost dripping like wet paint from the frames, and indeed there is a painterly quality to the color works. There are a few black and white prints as well that engage a more poetic tone but are still dynamic and often unexplained.

Monsel's triptych Mansour Coca-Cola is the result of much labor and many compositions- over 300 photographs were drawn together to make this piece. This immense work reveals the day of a delivery driver in Manhattan in front of his gleaming red Coca-Cola truck. Multiple levels of reading engage and unfold as a metaphor of the American dream. The juxtaposition of a variety of scenes work to interrupt time and space to question both reality and its representation.

For more information on the exhibition, please visit Esther Woerdehoff Gallery

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Artist's Reception & Book Signing: George Tice at Scott Nichols Gallery

Posted By Administration, Tuesday, September 24, 2013
Updated: Wednesday, September 25, 2013

The Photographer's Photographer

Through November 16, 2013


Reception & Signing:
Thursday, September 26th
5:30 - 7:30pm 

Artist's Lecture: 
Friday, September 27th
6:30 - 8:30pm

Presented by The U.C. Berkeley Graduate School of Journalism


The title, The Photographer's Photographer, for photographic master George Tice is simple, direct, and well-chosen. Tice represents a living legacy of self-trained photographers. He is visual explorers who, in his 60 years of working, mastered both technical and creative ends of the media. This retrospective exhibition is a celebration of Tice's contribution to photography as an artist, a teacher and a technical master. Tice also deserves credit for his contributions to the American rural and suburban landscape genres.


Tice's images work as social-historical documents, becoming both record and artifact. Their rooting in time is strengthened through frequent dedication to formal balance. Imagery from his series on the Amish are well-represented, and as strikingly iconic now as ever. The simple life celebrated in these images where children dodge snowballs and walk sunlit roadways. Clothes hang to dry in the carefree breeze. Windmills and water wheels are lone interruptions on the cultivated fields. These works stir us quietly.

Urban scenes are somewhat sharper and more graphic and, even in their quietness and absence of figures well reflect the pace of city life. These works are darkly Hopperesque, and light, sharp or flooding becomes flickering beacon, as in Telephone Booth, 3 A.M., Railway, NJ or Petit;s Mobil Station, Cherry Hill, NJ. We do not trust the permanence of these places, but we are drawn to their flame. Indeed lights of the Strand Theater, Keyport, NJ seem to be fading and the sign going to rust. There can be a roughness and grit to the work as well, a gargoyle in a view from the Chrysler Building seems ominous.

Always there is a dedication to time and place- a reduction of the subject to its essence. Even in these simple frames, these daily scenes, and common occurrences we find something we hope to hold onto. There is a romantic aspect to the work, and as we try to grasp the lasting image before us, we dually acknowledge its ephemeral nature. What once was simple, now may be rare, and so in time Tice's work has continued to gain weight. 

For more information on this exhibition, please visit Scott Nichols Gallery

More in the Wall Street International

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Hemphill Fine Arts Celebrates 20 Years

Posted By Administration, Tuesday, September 24, 2013
Updated: Wednesday, September 25, 2013
Anniversary Exhibition 

Through November 27
H E M P H I L L opened as a commercial gallery in September of 1993. The exhibition schedule features contemporary art ranging in media from emerging to mid-career and established artists. In addition to these shows the gallery mounts exhibitions of historically significant artwork and socially relevant subjects. The diversity of this schedule is designed to showcase important talent and provide artwork appealing to a broad range of interests. The gallery staff: Mary Early, George Hemphill, Shira Kraft and Jenna Kowalke-Jones (Preparator).

Hemphill will celebrate this milestone with a rotating exhibition of works. Three exceptional works by the gallery's 30 artists amounts to 90 works, and in an effort to include a healthy cross-seciton of their represented artists's pieces they will exchange the display at regular intervals. 

REPRESENT features paintings, works on paper, photography, sculpture, and mixed media by: Annie Adjchavanich, Colby Caldwell, William Christenberry, Steven Cushner, Willem de Looper, Don Donaghy, John Dreyfuss, Mary Early, Godfrey Frankel, Max Hirshfeld, James Huckenpahler, Franz Jantzen, Jacob Kainen, Martin Kotler, Linling Lu, Tanya Marcuse, Kendall Messick, Joseph Mills, Mingering Mike, Tina Newberry, Robin Rose, Anne Rowland, Sharon Sanderson, Lisa Scheer, Renée Stout, Emma Tapley, John Watson, William Willis, Julie Wolfe, and Workingman Collective. A number of events will be scheduled throughout the exhibition that speak to both the gallery's history and the history of Washington DC. More information on these events is coming soon.

For more information on the exhibition, please visit Hemphill

Upcoming event:
ART TALK with George Hemphill
Saturday, October 26, 10:00am

George Hemphill emerged from a career as a conceptual artist over 30 years ago to venture into art dealing. On the 20th anniversary of the gallery he founded, Hemphill shares his singular perspective. He will share tales of visionary artists, heroic collectors, and frustrated curators, accumulated, as he describes, "while traveling the weird and lovely world of art dealing".

 

Seating is limited and available on a first-come first-served basis.

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New Yorker Review: Josef Breitenbach at Gitterman Gallery

Posted By Administration, Wednesday, September 18, 2013
Updated: Wednesday, September 25, 2013

Thorough November 2, 2013


Opening Reception:

Wednesday, September 18

6:00 - 8:00 pm


German-born Josef Breitenbach was a photographic explorer, and true avant-gardist. His work feels eerily contemporary, and his creative process lead his work over the boundaries of many movements; Breitenbach's work relates to Pictorialism, Modernism, Surrealism, and Abstract Expressionism. At first glance we almost want to connect works by style as if to attribute them to the work of one artist then another, but it can not be done, and we find ourselves truly amazed by the breath of Breitenbach's oeuvre.

In an interview in The New Yorker's Photo Booth gallery owner Tom Gitterman reveals to Jessie Wender "what is important to know about Breitenbach's life and the ways in which it informed his work."

Breitenbach was raised with a profound respect for the history of art and culture, and he worked with a conscious understanding and appreciation for many different styles of artistic expression. His family had a wine business, which provided him with the means to travel outside of Munich, his home town, and experience more culture and artistic ideas. Living in Paris, where he spent time with Bertolt Brecht, Max Ernst, James Joyce, Aristide Maillol, and Wassily Kandinsky, must have had a huge impact on him. I also think that being interned, in 1939, escaping via Marseille, in 1941, and arriving in New York, in 1942, must have profoundly affected him.

The exhibition of Breitenbach's work now on view at Gitterman Gallery touches on all areas of experimentation- traditional and experimental processes, with emphasis on his lesser-known cameraless photography. Formal balanced traditional work is the underlying structure of works like Carnival, Germany, (c.1930); Vertical View, Germany, (c. 1932); and El (Hochbahn), New York (1942). Three portraits of Patricia, New York from 1942 have some footing in traditional portraiture but move through variations in handling and treatment of toning between near Pictoralism to hyper-graphic Modernism. These three seem to move and play before our eyes, and as soon as we identify something in Breitenbach's work it seems to move to elude us, shifting again into something else. This is where the work gets its charge. Still other works, a concentration of which are from c. 1946 - 1949, are completely and totally abstract. These works are photographic collage- part photogram, part chemical emulsion painting. They rest in photography, barely but decidedly and push to prove that, as Lyle Rexter puts it in Photograph Magazine, "Photography was not either/or but both/and, a means of recording reality but also, equally, of making visible things unseen, what his friend Max Ernst once called "unpeopled dreams."

Photo Booth

photograph magazine

New Yorker Review

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