A RUSSIAN PAINTER OF URBAN LANDSCAPES
July 24 - August 29, 2010
Alexey Krasnovsky
Bedford Avenue
2010
Oil on Canvas
42" x 49"
In the last two years, Krasnovsky’s works has achieved critical acclaim in the Russian art world. Most recently, Alexey’s work was included in Christies Spring Russian Art Auction in New York City.
The show will feature 12 of Krasnovsky’s oil paintings completed between 1990 and 2010. The paintings are based on Krasnovsky’s trips to Mexico City, New York City and Austin Texas.
May 22 - July 21, 2010
Greg Lindquist
THE EDGE of the Physical Landscape (And Social Fabric)
2009
Oil and Metallic on Linen
36" x 108"
Peter Acheson
Carol Anthony
Ira Barkoff
Frank Bauer
Lisa Brody
Elena Figurina
Barbara Friedman
Margaret Grimes
Susan Grossman
David Ivie
Scott Kling
Mallory Lake
Greg Lindquist
Vladimir Migachev
Andrei Roiter
William Thomson
A BROOKLYN PAINTER,
IN SHOW ENTITLED “POSSESSION”
April 17 - May 20, 2010
Howl
Mantis Gun
January 29 - March 28, 2010
Greg Lindquist
Void (Wholesold Space)
2007
Oil on Linen
18" x 36
The show features works by Peter Acheson,
Carol Anthony, Katherine Bradford, Al Held, Geoffrey Heyworth, Alexey Krasnovsky, Greg Linquist, Vladimir Nemukhin, Aga Ousseinov, Pat Passlof, Leonid Sokov, and Paul Weingarten.
November 26, 2009 - January 15, 2010
Allen Blagden
The Scout
Watercolor
22" x 30"
A Lakeville, CT native, Blagden attended Hotchkiss, majored in art at Cornell, and was one of a select group of 35 budding artists in the Yale/Norfolk 1961 summer program. In his oral history for the Smithsonian Archives of American Art, Chuck Close related the antics of his fellow classmates that included Phillip Guston, Brice Marden, and Allen Blagden, who he notes, “Is now a very successful realist painter in an Andrew Wyethy kind of way.”
“When a wolf looks you in the eye,” Blagden said, “you sense its intelligence and wisdom.” His intense feeling for wolves is strikingly portrayed in his paintings, conveying the same emotional impact.
In addition to the paintings, there is a signed poster with one of images from the exhibit. All proceeds from the poster sales will be donated to Mission: Wolf, the nonprofit rescue and educational facility in Westcliffe, Colorado that inspired the exhibit.
Blagden’s nature paintings have been featured in galleries throughout the United States and are represented in major museum and private collections, including those of David Rockefeller and Raymond Learsy.
October 30 - November 26, 2009
Vladimir Nasedkin
France, Structures
2007
Mixed Media on Paper
43 ½" x 29 ½"
_________________________
Tanya Badanina
White Garments
2009
Mixed Media
65" x 45"
I am especially excited about this show because it marks a turning point for the gallery. It inaugurates the gallery’s Russian Artists in Residence Program. The program, which invites one or two selected artists every year to live and work in New York, was created for the purpose of giving a Russian artist the opportunity to produce a new body of work for exhibition in the United States.
John Bowlt, professor and director of the Slavic studies program at the University of
Southern California and one of the leading authorities on Russian art, has written the
catalogue essay. John’s book, Kazimir Malevich, 1878-1935, is only one of several
books he has written on Russian art and culture. He has contributed to several museum catalogues, including most notably portions of the Guggenheim Museum’s book, Amazons of the Russian Avant Garde.
September 19 - October 25, 2009
Sally Pettus
Shadows on a Beech Tree
2008
Oil on Canvas
36" x 36"
The opening reception took place on Saturday, September 19th from 4-7 pm.
AND NY ARTIST JOEL PERLMAN
JULY 17 - SEPTEMBER 13, 2009
Although Polke’s work shares a similar outlook and sensibility to American Pop art, Polke’s work reflects a different relationship to consumerism than his American counterparts. Instead of touting the glories of modern life, Polke “often distorts or disrupts the ready-made iconography, investing it with a personal message. His parodies of politics, social conventions, and established artistic and cultural values reveal a joyful cynicism that is unique.” (Sigmar Polke catalog, MOMA, 1999)
Ober Gallery will be featuring 10 of Polke’s lithographs. As evidenced by his recent show at Museum Ludwig in Cologne, Germany Polke’s editions are not something the artist "does on the side". They highlight the reproductive techniques which his paintings also return to time after time: printing, complete with raster dots, photographs and Xeroxes. “The editions literally render what the paintings simply translate. But they also translate what the artist himself has painted, or anticipate it. The editions are an important element in Polke's enquiry into the representation and duplication of the world.” (Museum Ludwig Catalog)
Joel Perlman has been “creating complex sculptures out of steel, bronze, and aluminum since the early 1970's. While minimalism was the predominant style of his genration, Perlman chose to push his forms into ever-more complicated, gravity defying, configurations. Though he shares certain qualities with his peers - the thrill of danger in a Richard Serra, the blue-collar heroism of Mark diSuervo - Perlman always investigates with originality. He expands, rather than appropriates, enriching our experience with industrial materials.
It took three decades for Perlman to pick up a circle, a shape he always believed too perfect to use. Its deliberate addition pumps unexpected motion and energy into his sculptures. Even his more modest scale pieces, roosting atop pedestals, have the buzz of machinery, hard at work. They recall the collages and maquettes of Vladimir Tatlin and the Russian Constructivists, who like Perlman, admired the creative ingenuity of industry, without imitating the deadening appearance of automation”. (Barbara Pollack for Sculpture.Org)
JUNE 12 - JULY 15, 2009
Ira Barkoff
Tree Glade
2008
Oil on Canvas
32" x 44"
The opening reception took place on Saturday, June 13, from 3-6 pm.
MAY 14 - JUNE 11, 2009
Karen LeSage
Long View July
2009
Oil on Canvas
56" x 44"
Dan Shaw of Rural Intelligence writes, “You might call Karen LeSage’s work Abstract Impressionism, for her canvases are explorations and evocations of color, brushstroke and light. In her first exhibit at Ober Gallery, she explores and contemplates the rural landscape in a way that is both singular and universal. It is her study of light, form and open space that makes these paintings at once familiar and revelatory.
In the plein air tradition, she begins each painting outdoors- “collecting light”, she says- then returns to her studio where she can approach her subject from a more abstract perspective, working intensely with the colors she's seen and their dialogue with one another. To make sure the paintings remain representational, she will consult her 7-year-old son, Elijah. "I'll ask him, “what do you see?’ If he says ‘a field’ or ‘mountains’, I know I am within the range. I am interested in minimalism and color-field painting, but want these to be recognizable as landscapes."
The real world informs but does not intrude upon LeSage's work. There is an implicit understanding between the artist and the viewer that she is liberating us from our prosaic way of looking at the world. She presents the serenity of the rural landscape in a modern way--the soul of Henry David Thoreau crossed with the eye of Mark Rothko. These transcendent landscapes are both traditional and avant garde: They are literally and figuratively a breath of fresh air.
Dan Shaw was a founding editor of the The New York Times Sunday “Styles” section, features editor of House & Garden, and deputy editor of HomeStyle and O at Home magazines. He writes for publications that include Elle Décor, Martha Stewart Living, House Beautiful, O: The Oprah Magazine, Real Simple.and Berkshire Living. He regularly writes the “Habitats” column for The New York Times Sunday Real Estate section, and is the co-founder and co-editor of Rural Intelligence.com.
April 11 - May 13, 2009
Elena Figurina
By the Tree
1989
Oil on Canvas
111cm x 90cm
The show is divided into three parts: the Russian avant garde of the 1920s, the Nonconformist period of the 1970-90 period, and contemporary trends.
Highlights from the show include a stunning “suprematist” drawing from 1914 by Kazimir Malevich, a 1972 abstract oil painting by Nonconformist painter Evgeny Rukhin, 5 ink drawings done in 1973 by the founder of Russian Conceptualism, Ilya Kabakov, and arguably the most important painting by Russian primitivist, Elena Figurina.
Six of the fifteen artists in the show participated in the Guggenheim Museum show, “Russia” in 2005.
This show promises to be one of the most important shows of Russian art in the United States in 2009.
SPRING SELECTIONS
March 7
- April 1, 2009
Douglas Wirls
Botanical #5
2008
Pastel on Polyester Drafting Film
42" x 30"
The show will also feature NY artists Peter Acheson, Stanley Boxer, Geoffrey Heyworth, Sandra Lerner, Colleen Randall, Luigi Terruso, Douglas Wirls, and David Wooddell.
Vermont native, Joseph Salerno will also feature several works.
WINTER SELECTIONS
Elena
Figurina, Barbara Friedman, Margaret Grimes, David Ivie,
Alexey Krasnovsky, Arnout Killian, Joseph Salerno
January 15 - March 1, 2009
Alexey Krasnovsky, Arnout Killian, Joseph Salerno
January 15 - March 1, 2009
Joseph Salerno
Passage 3.28.08
2008
Oil on Board
6" x 14"
FORCES OF NATURE
November 1 - December 18, 2008
Alexey Krasnovsky
Bedford Street, Green Point Brooklyn
2008
48" x 60"
Russian Non-Conformist painter, Alexey Krasnovsky’s quite, lonely paintings do not reflect the tempestuous circumstances of his early life. At age 33, Krasnovsky, on a trip to Moscow from his home in Saint Petersburg, sprinted through the tunnel of the American Embassy and explained “I just want to paint. I don’t want limits put on me.”A humble, modest man, Alexey finds his rewards in modest scenes. Splitting his time between Ireland and the United States, he concentrates on the cities and towns of his new life. His appreciation of mood and atmosphere draws you into each scene. And every painting seems to be affected by far off memories of his life in Russia. In many respects his paintings represent the intersection between his old and new life. Put simply, his paintings are dreams of yearning – the yearning of an outsider in a new land who cannot forget the fragments of his earlier life.”As he says “the scenes I paint reflect the heartbeat of my own sadness.”
New York painter, Katherine Bradford will be featuring works from her “boat series”. This series employs the motif of ships as a metaphor to explore the voyages we are all caught up in as we move through life. New York Times art critic, Roberta Smith recently described Bradford’s paintings as “beautifully made, sincerely felt and distinguished by a special talent for schematizing nature into small ruggedly made abstractions that are at once poetic and humorous.” Her work is represented in several major collections including the Metropolitan Museum of Art and Brooklyn Museum.
It’s not every day that one encounters an artist whose work so accurately reflects the person as in the pictures of Paul Weingarten. The passionate intensity of the work, the awe of nature, the storminess and sweetness are there to see. Paul paints from his innermost feelings. He is a true expressionist. The intensity and integrity of the person is behind all the work. That is one of the reasons why I’m sure critics like Clement Greenberg became so attached to Weingarten’s paintings. His work is in many important collections, including The Museum of Fine Art in Houston and the High Museum in Atlanta.
October 2 - October 29, 2008
Tracey Jones
Sign 2
2008
Oil on Canvas
48" x 72"
ALEKSANDER KONSTANTINOV
RUSSIAN CONSTRUCTIVIST
August 15 - September 24, 2008
Aleksander Konstantinov
Aqueduct
2008
Outdoor Installation: Hohenems, Austria
Wood and Steel
4 x 30 x 1m
A constructivist, Aleksander is expanding on an important tradition in Russian art, a movement cut short by Stalin's rise to power in 1929. His work, particularly his outdoor installations, represents an extension of that movement. Lightly manipulating such diverse materials as photographs, paper, film, metal and wood, he has emerged as the most important constructivist in Russia today.
Last year Aleksander was featured in the spring Russian Contemporary Art auction at Sotheby's in London. A book devoted to his outdoor installations in Europe and Russia was recently published.
His work is featured in the Russian Museum, Pushkin Museum and Tretyakov Gallery.
The artist will be at the opening. I look forward to seeing you at this remarkable exhibition.
PAINTINGS FEATURED IN THE METROPOLITAN MUSEUM OF ART
June 25 - July 30, 2008
Mr. Jessup's paintings are in the collections of the Metropolitan Museum of Art, New York; the Brooklyn Museum of Art, Brooklyn, New York; the High Museum of Art, Atlanta, Georgia; the Dallas Museum of Art, Dallas, Texas; as well as many public, private, and corporate collections.
New York Artist
April 24 - June 22, 2008
Barbara Friedman
Vagabond
2002
Oil on Linen
40" x 30"
In short, these remarkable paintings, with their Richter-like blurs, seem to exist in both the past and present.
They are some of the most hauntingly beautiful paintings I have witnessed in some time.
An eight-page catalogue accompanies the show.
WORKS BY JOSEPH BEUYS, CARROLL DUNHAM, ELENA FIGURINA,
MARY HEILMANN, GERHARD RICHTER and FRANK STELLA
March 6 - April 20, 2008
Highlights include a stunning painting by Russian non-conformist painter, Elena Figurina. Four new gallery acquisitions by Frank Stella, Mary Heilmann, Joseph Beuys and Litchfield County resident Carroll Dunham will be featured as well.
GALLERY SELECTIONS SHOW
WORKS BY FRANK STELLA, AL HELD, ROBERT DE NIRO SR., MILTON RESNICK, GEORGE MCNEIL, PAUL RESIKA, AND ALLEN BLAGDEN
WORKS BY FRANK STELLA, AL HELD, ROBERT DE NIRO SR., MILTON RESNICK, GEORGE MCNEIL, PAUL RESIKA, AND ALLEN BLAGDEN
December
15, 2007 - March 2, 2008
The show features abstract works as well as landscapes. Highlights include a large painting by Valery Koshlyakov, a Russian artist featured at the 2005 Guggenheim show Russia! A large piece by Frank Stella dedicated to Joseph Beuys is also featured prominently. A beautiful piece by Al Held from 1962 will hang next to the Stella. The show will also include two beautiful watercolors by Lakeville native Allen Blagden.
LEGENDARY NEW YORK LANDSCAPE PAINTER
November 3 - December 2, 2007
Tom Goldenberg
Gallatinville
2005-2007
Oil on Linen
40" x 60"
In the words of Hilton Kramer, Tom brings to his landscapes a classical rather than a romantic or expressionist sensibility. He "has been drawn to the kind of terrain that lends itself to a classical order, the countryside of Dutchess County, north of Manhattan in New York State. With its carefully tended farms, rolling hills and spacious woodlands, this is anything but an untamed wilderness. If we sometimes glimpse a house or barn or some other man-made structure in these paintings, it remains subordinated to the rhythms and divisions of the land and the changing light of the seasons.
"His colors can give off the sense of warm, lazy sunshine we all know from country days in August or the bright light that belies the sudden chill of fall days. They are pure evocation".
GEOFFREY DORFMAN AND MOR PIPMAN
TWO NEW YORK ABSTRACT ARTISTS
TWO NEW YORK ABSTRACT ARTISTS
October
6 - November 1, 2007
Geoffrey Dorfman
Newton's Pharmacy
Mor Pipman
Heads
Dorfman, a pure painter, allows the application of paint and his own almost hyper-conscious state dictate the direction or shape a painting takes. As he says, "If the painting begins to look like something besides paint, like sky or water, I change it."
Mor Pipman, a sculptor, who specializes in stone, shares a similar sensibility to Dorfman in that she allows the "process of shaping stone" determine what shape or spirit the object takes.
In short, Dorfman and Pipman are linked in an artistic outlook, a viewpoint that seeks to unravel the mystery of painting by allowing the sheer process of painting and sculpting determine the final creative outcome.
SARAH PLIMPTON
NEW YORK ABSTRACT PAINTER
NEW YORK ABSTRACT PAINTER
September
7 - October 4, 2007
When she found that the questions she was beginning to ask would not be answered by science, she explored the arts.
But as she freely admits, it was not until her time in Paris that she really began painting. She met the artist Tal-Coat, whose pared-down spacial abstractions significantly influenced her development as a painter.
Like Kasimir Malevich, the great Russian/Ukrainian painter, Plimpton's abstract landscapes take us to another world. However, whereas Malevich's paintings are oriented in the "cosmos", Sarah's paintings seem closer to earth, as evidenced by the earth-tone colors that occupy her paintings.
Plimpton describes her painting as some sort of Zen, a primitive alphabet set against a mysterious landscape, originating from her ongoing fascination with the human need and propensity to create forms. As she writes, "look around the world at some of the structures made by people with no formal schooling. There has to be some innate eye for form in the human brain. Education can ruin vision."
It is no wonder that Sarah has made frequent visits to see paintings in prehistoric caves in France and aboriginal works in Australia. "From a trip to Africa in 1978, she recalls vividly how struck she was by Liberian homes with painting on mud-smeared surfaces - decoration even created by "using imprints of their hands on the walls."
Sarah's paintings are quiet, but the drama that unfolds in them is quite stirring. Tension in her paintings is derived from the interplay of geometric and natural shapes, sometimes resolved, sometimes evolving. Shapes struggling, awkwardly at times, to find their place in an ever changing landscape.
Her earth tones, almost prehistoric colors, re-inforce this drama by conveying a sense of timelessness and universality.
She has said her goal is to take the viewer somewhere else. She does that and helps us understand that this "somewhere else" may not be far away.
She is represented in many important collections, including the Metropolitan Museum of Art, Whitney Museum of American Art and Columbia University Rare Books and Manuscript Library.
ONE YEAR
ANNIVERSARY SHOW
HENRI MATISSE, MILTON RESNICK AND GALLERY ARTISTS
HENRI MATISSE, MILTON RESNICK AND GALLERY ARTISTS
July 26 - August 16, 2007
The show features a beautiful crayon on paper work done by Matisse in Nice, France in 1940. Other highlights include two original works by Milton Resnick, one of the most important American abstract expressionists of the 1950s. Susan Rothenberg is featured prominently in a large woodcut piece. Two Sigmar Polke prints will also be displayed. Polke was the honored artist at the Venice Biennale this past spring.
TOM FERRARA AND COLLEEN RANDALL
June
30 - July 25, 2007
Like Tom Ferrara, Colleen Randall’s work is rooted in the American abstract tradition of the 1950s and 60s. Like Tom, Colleen’s paintings evoke "a journey-like quality". But whereas Tom’s painting seems more interested in investigating our journey on earth, above ground so to speak, Colleen seems more interested in taking us on a journey into the physical world we occupy. As a result, Colleen’s paintings are richly textured and the colors seem to be literally pulled from the earth.
IRA BARKOFF
IMPORTANT CONNECTICUT LANDSCAPE ARTIST
May
25 - June 25, 2007
Ira Barkoff
Big Cloud
2006
Oil on Canvas
44" x 44"
Although not known to him at the time, the Catskill Mountains were the stamping ground of the Hudson River School of landscape painters led by Thomas Cole in the nineteenth century. It was the kind of painting that depended upon a quiet observation of fact, to be sure, but in its celebration of nature, it touched on the romantic as well. Barkoff began with a quiet observation of fact, but soon a more romantic sensibility emerged in which the expression of his ideas was based more on memory and imagination. "My landscapes," he said, "are not literal depictions of New England . . . but are distillations of visual / emotional memories."
Barkoff’s influences range from Rembrandt (especially the great pen and ink drawings), to J.M.W. Turner’s late unfinished paintings, John Constable’s studies of clouds, the poetic subjectivity of Twachtman’s landscapes and Monet’s Water Lily Series, to name just a few. He admires the attitude of Caspar David Friedrich and the color of Van Gogh. Later, he embraced the gestural painting of Richard Diebenkorn and Willem Dekooning, and more recently the premier coup paintings of Edwin Dickinson (1891-1978), whose landscapes were often finished in two to four hours. Many of Barkoff’s twenty plus pictures in the Ober Gallery exhibition were painted that way, of which Shimmer, with its quick, gestural brushwork and sense of light and space, is an outstanding example -- as is The Color Purple, with its yellow foreground and Rothkoesque format and color feeling.
Working in his studio in natural light, Barkoff paints to music -- usually opera, sometimes Chopin, which, he says helps put him "in the zone," to keep to his romantic point of view. The high-energy work, Tree Rows, exuding a sense of driving through the landscape at speed, was painted in those conditions, as was the large, Big Cloud, as well as Summer, the latter two recalling the work of Constable or the seventeenth century Dutch masters.
Yet, despite his habit of working from imagination and memory, Barkoff’s landscapes still manage to evoke an extraordinary sense of place and if many of his landscapes are painted en premier coup, they evoke an extraordinary stability and presence. In addition, he has transformed his influences into something entirely his own. It is clearly apparent that here is a lyric artist who has created memorable images and possesses a quiet originality, quietly achieved.
Essay by Richard Boyle, Art Historian
JESSE McCLOSKEY
May 4 - 24, 2007
Jesse McCloskey
Incident in the Park
2005
Oil on Canvas
50" x 60"
When I visited Jesse at his Williamsburg studio, I knew I was looking at work by a visionary.
His landscapes explore the dark narrative of the subconscious. Dreamlike, full of provocative and disturbing images, they are reminiscent of the Surrealists. Objects such as scissors, sharp teeth, and empty liquor bottles create a foreboding. The viewer is prompted to ask, wherein the danger, why the anxiety.
Yet there is a "lightness", too. Comic-like characters and lots of birds, perhaps witnesses to the crime... serve to offset the darkness.
Jesse is not the first artist to embrace cartoon-like characters. Roy Lichtenstein and Carrol Dunham are only two of several American artists whose work bore the influence of cartoonagraphy, as explored this month at the Museum of Modern Art in New York.
When I asked Jesse about the source of his vision, he cited 18th century woodblock prints of Salem, and he also pointed to a small postcard hanging on his studio wall of an illustration of the story of "Little Red Riding Hood".
"The rest..." he said " is from my dreams."
KENT ARTIST TOLLEF RUNQUIST
March
30 - April 29, 2007
Tollef Runquist
Untitled
2007
Latex on Canvas
48" x 48"
I first encountered the work of Tollef Runquist more than ten years ago at Jacques Kaplan’s gallery in Kent. The “lines” in Tollef’s charcoal drawings had this jagged, tortured quality about them that brought to mind the work of the early twentieth century Austrian expressionist Egon Schiele. Several years later, I visited Tollef’s studio. By then one could see the influence of de Kooning and Diebenkorn in his oeuvre.
Ten years later, I am pleased to showcase Tollef’s paintings in his first Connecticut solo show. I am committed to showing young talented artists like Tollef, particularly one as gifted and committed as he.
Tollef’s paintings are not for the faint-hearted. They are intensely personal, honest, and hard-edged, with much to say about the human condition.
I think you will agree that his paintings are hauntingly beautiful.
THE
NEO-ROMANTIC GROUP
February
9 - March 7, 2007
Paul Weingarten
Red Clouds
1986
Oil on Canvas
48" x 36"
The
artists who comprise the Neo-Romantic Group (Ivana Salander, Andrey
Tamarchenko, Paul Weingarten ) are united in their allegiance to a core
set of principles. Above all, they present themselves naked and true,
with life as their primary celebration, honesty as their modus
operandi, and a respect and reverence for the inspired masters of all
ages. They present an art that rejects pseudo avant- garde fashion. The
Neo-Romantics aim for a purity of expression that emanates not from
intellectual theory but from pure emotion. For the Neo-Romantics,
artists “do now know because they are told, they know because
they experience.” Descartes said, “I think
therefore I
am.” The Neo-Romantics prefer “I feel therefore I
live.”
These artists carry out this
endeavor with depth, with openness, with
awe before nature, with a respect for tradition and a renewed vision of
life. They employ both spontaneity and craftsmanship born of the need
to represent in no uncertain terms, that which is life itself.
ELEVEN PAINTINGS OFFERING A PENETRATING LOOK
AT THE REALITY OF AMERICAN SUBURBAN LIFE
January 2 - February 6, 2007
The reception is Saturday, December 16th from 3-6 pm.
WIDELY CONSIDERED THE MOST IMPORTANT RUSSIAN
NEO CONSTRUCTIVIST/MINIMALIST ARTIST
December 14, 2006 - January 2, 2007
Aleksander Konstantinov
Greece
Installation
In addition to gallery scale pieces, Konstantinov creates gigantic outdoor installations, placing his structures on facades of buildings. During the last four years he realized more than twenty such projects in countries like Austria, Greece, France, Italy, Switzerland, Norway, Russia, Ukraine, and USA. Konstantinov incorporates his gigantic “drawings” made of plastic sheets and tape into a land- or townscape breaking the boundary between real and depicted. These works carry multilayered cultural and historical associations that involve the viewer in a game of simulation and substitution of meaning.
By employing interplay of cultural references Konstantinov brings irony into his gallery scale pieces and large scale installations. His works are visual jokes with a profound symbolic meaning, reflecting on our everyday life and culture.
Show dates are December 14 – January 2. The reception is Saturday, December 16th from 3-6 pm.
KATHERINE BRADFORD
NEW YORK/MAINE PAINTER FEATURING FIFTEEN BOAT PAINTINGS
November 24 - December 14, 2006
NEW YORK/MAINE PAINTER FEATURING FIFTEEN BOAT PAINTINGS
November 24 - December 14, 2006
In a statement about her work, the artist writes that she "seeks to tell stories of isolation, community, questing and enchantment."
Her work is in the collections of the Metropolitan Museum of Art, the Brooklyn Museum of Art and the Portland Museum. She will be having a one person show in New York this spring at the Edward Thorp Gallery in Chelsea.
Ken Johnson, art critic for the New York Times recently wrote about Bradford's boat paintings describing them as "whimsical...working inventively between abstraction and representation."
Show dates are November 24-December 14. The reception is Saturday, November 25 from 3-6 pm.
NEW YORK EXPRESSIONIST PAINTER AND
HIS PAINTINGS OF NEW YORK AND CONNECTICUT
November 4 - 23, 2006
Alfred Janson, art historian and critic, writes that “this way of painting is not for the faint of heart…No preliminary drawings or oil sketches invented in the peaceful sanctuary of the studio are permitted here; only a rawness and immediacy of brush responding instantly to the impulses of the imagination.”
Paul Weingarten received his undergraduate degree from New York University in 1968. He has exhibited on numerous occasions at the Salander O’Reilly Galleries in New York City. His work is in several museums including the Museum of Fine Arts in Houston and the High Museum in Atlanta. His work has been reviewed several times by the New York Times.
Show dates are November 4 – November 23. The reception is Saturday, November 4th from 3-6 pm.
Jim Bohary
New York Based Abstract Expressionist Painter
October 14 - November 1, 2006
New York Based Abstract Expressionist Painter
October 14 - November 1, 2006
James
Bohary
Random Sound
1989
Oil on Canvas
63" x 67"
Random Sound
1989
Oil on Canvas
63" x 67"
The opening reception is Saturday, October 14, from 4-6 pm.
NEW YORK ARTIST IN HER FIRST CONNECTICUT SHOW
September 22 - October 12, 2006
Tracey Jones has pursued painting for more than three decades. Her work emerged after the emergence of “post-painterly abstraction.” While color is a major component of her work, it is the rich texture of her surfaces that holds one's attention. In the words of the noted New York critic, Robert Morgan, (contributor to Artnews, Art in America, The Village Voice and Art Press), “There is something hidden – or, I should say layered – in the intricacies of these surfaces that embodies content as something more than mere process… With a delightful touch of Dubuffet , Jones proceeds to articulate the history of Modernism in her own terms and through her own inspiration.”
Show dates are September 22 – October 12. The reception is Saturday, September 23 from 4-6 pm.
September 8 - September 21, 2006
Liubov Popova
Composition
Gouache on Paper
1917
12 5/8" x 8 1/4"
Composition
Gouache on Paper
1917
12 5/8" x 8 1/4"
In addition to works by Malevich and Popova, the show includes works by noted Russian artists, Eric Bulatov, Alexander Exter, Vladimir Nemukhin, Oscar Rabine, Mikhail Roginsky, Edik Schteinberg, Leonid Sokov, Nadezhda Udaltsova, Oleg Vassiliev, and Vladimir Yakovlev.
Twenty-two Russian artists are included in the show. More than ten artists in the show were included in the recent Guggenheim Exhibit, "Russia!"
August 18 - September 7, 2006
A.R. Penck
The Colours of the Night
Frank Bauer
Michiko (in Hamburg) I
Maia Naveriani
Woman in Grass
Ober Gallery is pleased to present a show featuring thirteen paintings by eleven diverse contemporary artists living in Germany.
The show includes works by:
Frank Bauer is Gerhard Richter's most recognized and acclaimed student. His neo-realist portraits of people in everyday life are captured with such precision that viewers feel a part of them.
Harding Meyer's powerful expressionist portraits defy sentimentality, showing children in their most human and vulnerable state. He captures their pride, aggressiveness, shyness, innocence, and dignity.
Maia Naveriani's large scale, drawings of women in their most private moments are remarkable for their precision, scale and light.
Werner Schmidt's naturalistic and sometimes luscious landscapes of his native Germany range from classical to romantic.
Marcus Vater and Kate Waters capture the transitory moments of life, out of the belief that these arrested moments offer insights into everyday life.
Marc von Criegern's paintings are highly narrative and mysterious. Marc von Criegern projects the viewer into an unknown subtly disquieting situation.
Christopher Winter uses allusions to a kitschy pop version of the Hansel and Gretel story to explore what might happen as the children lose their way.
Prints by the acclaimed German artists Marcus Lupertz, A.R. Penck and Sigmar Polke close out the show.