JOHN ALEXANDER
"SNAKE OIL SALESMAN"
BARSAMIAN
"CAKE WALK"
BROSEN
"1841 A.D."
DOYLE
"TWO CHAIRS"
JUDITH GOLDSMITH
"FRENCH STILL LIFE"
MEYER
"WEST BROADWAY AND BROOME"
PAQUETTE
"STRAWBERRY PLANTS"
DOUG SAFRANEK
"EN ROUTE"
HINDSIGHT - WRITE SOMETHING WORTH READING ABOUT OR DO SOMETHING WORTH WRITING ABOUT
Thursday, November 24, 2005
EARLIER WORK FROM SCHMIDT BINGHAM GALLERY
EARLIER WORK FROM SCHMIDT BINGHAM GALLERY IN NEW YORK INCLUDES:
JOHN ALEXANDER
"SNAKE OIL SALESMAN"
BARSAMIAN
"CAKE WALK"
BROSEN
"1841 A.D."
DOYLE
"TWO CHAIRS"
JUDITH GOLDSMITH
"FRENCH STILL LIFE"
MEYER
"WEST BROADWAY AND BROOME"
PAQUETTE
"STRAWBERRY PLANTS"
DOUG SAFRANEK
"EN ROUTE"
JOHN ALEXANDER
"SNAKE OIL SALESMAN"
BARSAMIAN
"CAKE WALK"
BROSEN
"1841 A.D."
DOYLE
"TWO CHAIRS"
JUDITH GOLDSMITH
"FRENCH STILL LIFE"
MEYER
"WEST BROADWAY AND BROOME"
PAQUETTE
"STRAWBERRY PLANTS"
DOUG SAFRANEK
"EN ROUTE"
Sunday, November 20, 2005
New Art from Tamie Beldue
New Art from Tamie Beldue
"Veracity"
Artist's Information:
Beldue creates nudes in graphite on paper, an extension of one of the first exercises faced by art school students, something usually too basic to make the galleries. She speaks in shading, position and carefully chosen fashion accessories. There’s no color and no abstraction. The figure drawings are both photorealistic and surreal, looking light and effortless and unbelievably intricate at once. The process behind them is difficult to fathom, especially when Beldue mentions that each piece takes an average of 40 to 60 hours to complete. Some drawings have the total work time noted beside her signature.
“I get freakishly paranoid the closer they are to done,” Beldue said, explaining that as she reaches the final hours of work on a particular piece, she won’t go near it with anything that might smudge or spill, a habit she picked up after several bad experiences.
This makes sense, considering that her final products are as close to flawless as a human can create. Proportion is true, shadow is evocative but natural, and she gets a lot of drama out of the raised bumps of a spinal cord or a cameo-like glimpse of decolletage. “I love the softness of the technique,” Beldue said, describing her choice of medium. “It’s a pretty good challenge for me. If it got easy, it wouldn’t be any fun.”
With her focus on the graceful curves of the female form and a touch that’s light and gentle but very assured, one more strange thing about Beldue’s work arises, in relation to the art you’ll find in the Short North. There are always exceptions, but it often falls into two categories: sharp and challenging or beautiful and bland. Beldue’s work is undeniably gorgeous and somehow comforting, but there’s an edge there that comes from the artist’s approach. She uses the lengthy creation process as a stress-busting tool, an outlet for her own excess baggage, but also hopes viewers can experience a similar unburdening.
The artist honed her technique at Columbus College of Art and Design, and has recently returned to her alma mater as an adjunct professor.
"Veracity"
Artist's Information:
Beldue creates nudes in graphite on paper, an extension of one of the first exercises faced by art school students, something usually too basic to make the galleries. She speaks in shading, position and carefully chosen fashion accessories. There’s no color and no abstraction. The figure drawings are both photorealistic and surreal, looking light and effortless and unbelievably intricate at once. The process behind them is difficult to fathom, especially when Beldue mentions that each piece takes an average of 40 to 60 hours to complete. Some drawings have the total work time noted beside her signature.
“I get freakishly paranoid the closer they are to done,” Beldue said, explaining that as she reaches the final hours of work on a particular piece, she won’t go near it with anything that might smudge or spill, a habit she picked up after several bad experiences.
This makes sense, considering that her final products are as close to flawless as a human can create. Proportion is true, shadow is evocative but natural, and she gets a lot of drama out of the raised bumps of a spinal cord or a cameo-like glimpse of decolletage. “I love the softness of the technique,” Beldue said, describing her choice of medium. “It’s a pretty good challenge for me. If it got easy, it wouldn’t be any fun.”
With her focus on the graceful curves of the female form and a touch that’s light and gentle but very assured, one more strange thing about Beldue’s work arises, in relation to the art you’ll find in the Short North. There are always exceptions, but it often falls into two categories: sharp and challenging or beautiful and bland. Beldue’s work is undeniably gorgeous and somehow comforting, but there’s an edge there that comes from the artist’s approach. She uses the lengthy creation process as a stress-busting tool, an outlet for her own excess baggage, but also hopes viewers can experience a similar unburdening.
The artist honed her technique at Columbus College of Art and Design, and has recently returned to her alma mater as an adjunct professor.
Sunday, October 16, 2005
Saturday, October 15, 2005
New Art from Jenkins Johnson Gallery
J. WEISSMAN
"TATTOO IX"
Artist's Statement: Tattoo Series
I am trying to capture the vulnerability of the human form as well as emphasize its inherent beauty in the tattoo series. The canvas evolves into a mystical journey by portraying the story that the image on the male or female tells within the context of the overall painting. I select the models based on the intricacy of the pattern on their bodies and how those patterns will blend with the philosophical message of the painting.
"TATTOO IX"
Artist's Statement: Tattoo Series
I am trying to capture the vulnerability of the human form as well as emphasize its inherent beauty in the tattoo series. The canvas evolves into a mystical journey by portraying the story that the image on the male or female tells within the context of the overall painting. I select the models based on the intricacy of the pattern on their bodies and how those patterns will blend with the philosophical message of the painting.
Wednesday, October 05, 2005
New Art from Turner Carroll Gallery - Santa Fe
http://www.turnercarroll.com
New Art from Turner Carroll includes work by
IAN INGRAM
"Self-Portrait"
ARTIST'S INFORMATION:
For nearly three years, Ian Ingram has spent a great deal of time looking at himself. Not that the 31-year-old artist is vain—he’s just been working on a series of self-portraits in charcoal and pastel. The drawings are tightly rendered, but rather than exuding a sense of realism, they take the viewer to a dreamlike place. “I may draw my face with intense detail and then surround it with elements from imagination,” he explains. In a boy and his bruegel (where’s my bike at?), for example, Ingram depicts himself wearing a hat formed from a Pieter Bruegel painting he saw while on a bike trip in Vienna.
The artist begins each new piece with a question in mind. As he starts drawing and something beautiful emerges, he says, the question begins to resolve itself. “The act of rendering is very cleanly meditative,” he states. “It allows for those musings to surface where they will.” Ingram is inspired by his travels around the world. His next destination is India, and although he says the resulting works may include a few self-portraits, the series is coming to an end. Expect something that breaks the mold from the up-and-coming artist in the near future. Ingram’s work is on view beginning September 16 at the Arnot Art Museum in Elmira, NY, in a show called Re-presenting Representation VII. He is represented by Turner Carroll Gallery, Santa Fe, NM. —Julie Osterman
New Art from Turner Carroll includes work by
IAN INGRAM
"Self-Portrait"
ARTIST'S INFORMATION:
For nearly three years, Ian Ingram has spent a great deal of time looking at himself. Not that the 31-year-old artist is vain—he’s just been working on a series of self-portraits in charcoal and pastel. The drawings are tightly rendered, but rather than exuding a sense of realism, they take the viewer to a dreamlike place. “I may draw my face with intense detail and then surround it with elements from imagination,” he explains. In a boy and his bruegel (where’s my bike at?), for example, Ingram depicts himself wearing a hat formed from a Pieter Bruegel painting he saw while on a bike trip in Vienna.
The artist begins each new piece with a question in mind. As he starts drawing and something beautiful emerges, he says, the question begins to resolve itself. “The act of rendering is very cleanly meditative,” he states. “It allows for those musings to surface where they will.” Ingram is inspired by his travels around the world. His next destination is India, and although he says the resulting works may include a few self-portraits, the series is coming to an end. Expect something that breaks the mold from the up-and-coming artist in the near future. Ingram’s work is on view beginning September 16 at the Arnot Art Museum in Elmira, NY, in a show called Re-presenting Representation VII. He is represented by Turner Carroll Gallery, Santa Fe, NM. —Julie Osterman
Saturday, October 01, 2005
Earlier Work from Capricorn Gallery
MARIANNE BOERS
"UNTITLED"
"CORN CHIPS"
"CRACKERS"
"VINEYARD"
CAROLYN BRADY
"INTERIOR STILL LIFE"
BUTTARI
"CASUAL CORNER"
"PARADE"
CHAN
"TRAFFIC"
CHUNG
"STAIRCASE TO BROOKS BROTHERS"
CLEARY
"FEMALE NUDE"
"MENAGE"
"SELF-PORTRAIT"
BRAD CLEVER
"SWEETNESS & LIGHT"
COOPER
"UP LEFT DOWN RIGHT"
DALLMAN
"RAILROAD YARDS"
DAVID
"FIGURE IN A LANDSCAPE"
DICKSON
"WEST VIRGINIA LANDSCAPE"
DIEHL
"SEATED NUDE"
DUDLEY
"GOWANUS CANAL FROM 3RD STREET BRIDGE"
EITHARONG
"PATTI"
EITHRONG
"SELF-PORTRAIT"
FELTUS
"LINA"
FISHER
"TUESDAY SIESTA"
FORRESTER
"WON'T YOU COME INTO MY PARLOR?"
HANEY
"IN OVER OUR HEADS"
HAUSER
"CARNIVAL"
JACKSON
"FEMALE NUDE IN A CHAIR"
JARBOE
"RARECORD PLAYER/BEATLES"
KACICEK
"PORTRAIT OF BRIAN"
LOEHLE
"EMBRACE"
LUNDMARK
"REFLECTIONS"
OTT
"ARTISTIC PROPAGATION"
"GUTTER BALL"
MINNOVICH
"FACE"
RAMANAUSKAS
"TO BOLDLY GO"
RAMOS
"VENUS"
DEBORAH RUBIN
"PINK PEONIES"
SCHONZEIT
"TEA BOUQUET"
SCHUETTER
"LAMP WITH RED SHADE"
SONDERQUIST
"BACK VIEW"
DANIEL SPRICK
"AFRICAN VIOLET"
STAEMPFLI
"FEMALE NUDE"
TAYLOR
"COMICS"
VALENTI
"ARCHER"
WHALLEY
"BROOM WITH YARD IMPLEMENTS"
YEAGER
"SELF PORTRAIT"
"UNTITLED"
"CORN CHIPS"
"CRACKERS"
"VINEYARD"
CAROLYN BRADY
"INTERIOR STILL LIFE"
BUTTARI
"CASUAL CORNER"
"PARADE"
CHAN
"TRAFFIC"
CHUNG
"STAIRCASE TO BROOKS BROTHERS"
CLEARY
"FEMALE NUDE"
"MENAGE"
"SELF-PORTRAIT"
BRAD CLEVER
"SWEETNESS & LIGHT"
COOPER
"UP LEFT DOWN RIGHT"
DALLMAN
"RAILROAD YARDS"
DAVID
"FIGURE IN A LANDSCAPE"
DICKSON
"WEST VIRGINIA LANDSCAPE"
DIEHL
"SEATED NUDE"
DUDLEY
"GOWANUS CANAL FROM 3RD STREET BRIDGE"
EITHARONG
"PATTI"
EITHRONG
"SELF-PORTRAIT"
FELTUS
"LINA"
FISHER
"TUESDAY SIESTA"
FORRESTER
"WON'T YOU COME INTO MY PARLOR?"
HANEY
"IN OVER OUR HEADS"
HAUSER
"CARNIVAL"
JACKSON
"FEMALE NUDE IN A CHAIR"
JARBOE
"RARECORD PLAYER/BEATLES"
KACICEK
"PORTRAIT OF BRIAN"
LOEHLE
"EMBRACE"
LUNDMARK
"REFLECTIONS"
OTT
"ARTISTIC PROPAGATION"
"GUTTER BALL"
MINNOVICH
"FACE"
RAMANAUSKAS
"TO BOLDLY GO"
RAMOS
"VENUS"
DEBORAH RUBIN
"PINK PEONIES"
SCHONZEIT
"TEA BOUQUET"
SCHUETTER
"LAMP WITH RED SHADE"
SONDERQUIST
"BACK VIEW"
DANIEL SPRICK
"AFRICAN VIOLET"
STAEMPFLI
"FEMALE NUDE"
TAYLOR
"COMICS"
VALENTI
"ARCHER"
WHALLEY
"BROOM WITH YARD IMPLEMENTS"
YEAGER
"SELF PORTRAIT"