Peter Buchman, Perry Burns, Stephanie Brody-Lederman, Darlene Charneco, Bill Claps, Rossa Cole, James Croak, Cara Enteles, Barbara Friedman, Peter Garfield, Shirley Irons, Steven Kinder, Elena Lyakir, Ruth Ava Lyons, Christa Maiwald, Karyn Mannix, Dalton Portella, Anne Raymond, Bonnie Rychlak, Maggie Simonelli, George Singer, Ross Watts, Libby Wadsworth
The software you use daily and rely upon has been deprecated. It is no longer safe to use, and its imminent obsolescence includes an upgrade that purports to improve your life, but is actually designed to enhance the spyware, obfuscate your metadata, and make you even more dependent. The transition will be cumbersome and time consuming. But do you really have a choice?
Rather than assembling a group of artists who are concentrating on the demise of traditional painting supports - torn, shredded or punctured canvasses, exposed stretcher bars, paintings hung backwards, oddly shaped canvasses, painting as sculpture, etc… this exhibition will focus on works that address time as a subject, or are time-sensitive. The omitted torn canvasses, however, serve as a metaphorical backdrop. Support systems and structures we once were accustomed to are failing us. Infrastructure, government, technology and nature, rather than sturdy pillars on which we can depend, now seem like mere scaffolding. All have been unpredictable and unruly of late.
Which brings us to a sense of urgency, of due dates and deadlines: time moving like a bomb cyclone, a freight train, a viral meme. Or glacially: a dense, slow learner. Time can be still, waiting to pounce. It loops back upon itself, a spinning hourglass, neither empty nor full. Time was. Time’s up. Time as a disruptor.
Bonnie Rychlak’s Morphed Florida Drains use time as a component of process. Made of hand carved wax, they were exposed to long term Florida sunshine that warped and disfigured them. Darlene Charneco’s "Nail Meditations” are as visually akin to archeological sites as they are to a computer’s motherboard, leaving the viewer to wonder whether they reference the past, the future or both. Maggie Simonelli works with copper leaf, which oxidizes over time, altering the color of her paintings. Barbara Friedman’s painting of a green traffic light swaying in a foreboding, moody sky titled, Green Light, could just as easily be called, Time to Go. Christa Maiwald’s embroidery and cake installation, Coffee Cake (For Jackson Pollock), includes a slice of real cake, inherently making it a time-sensitive work.
The exhibition opening coincides with THAW FEST, a new initiative by 19 cultural institutions on the East End, scheduled to take place the weekend of March 23 - 25.
A percentage of proceeds from sales will be donated to the Sag Harbor Volunteer Ambulance Corp. Mail your donation to: PO Box 2725, Sag Harbor, NY 11963.
Bill Claps, Jungle Canopy II, mixed media and gold foil on canvas, 33" x 55"
Ross Watts, 1202021, tar paper and plaster on panel, 30" x 42"
Maggie Simonelli, Wind & Grasses, Triptych, Encaustic, Japanese coral, Arabian malachite, bee pollen, Japanese glass pigment, 16 kt. pale gold leaf, oxidizing copper leaf, CHANEL Tisee VENDOME eyeshadows, pigments on birch panels, 20" x 30"
Christa Maiwald, Coffee Cake (For Jackson Pollock), Cotton thread, hand embroidery, ceramic mug, place mat, cake, 22" x 25" frame size, (cake slice made of soap available for collectors)
George Singer, Bubble, acrylic on canvas, 30" x 24", Fireflies, acrylic on canvas, 30" x 40", as diptych: 30" x 64"
James Croak, Shovel, cast dirt (dirt with binder), edition 7, 42" x 12"
Peter Buchman, New York Time, acrylic on canvas, 18" x 24"
Bill Armstrong, Mandala #467, C-print, edition 5, 31" x 31" framed
Ruth Ava Lyons, Changeling #31, mixed media, 12" x 12"
Libby Wadsworth, Untitled, graphite, wax, encaustic on paper, 7.5" x 22.5"
Ruth Ava Lyons, Changeling #24, mixed media, 12" x 12"
Bonnie Rychlak, Morphed Florida Drains, hand carved cast wax, approximately 18" x 18" x 4" each
Karyn Mannix, Tick Tock, mixed media, 12" x 8" x 3.5"
Darlene Charneco, MycoReading, nails on wood panel, mixed media, 24" x 24"
Barbara Friedman, Green Light, oil on canvas, 40" x 30"
Peter Buchman, Once Upon a Time, mixed media, 48" x 58"
Stephanie Brody-Lederman, On the Brink, oil and mixed media on linen and wood, 34" x 46"
Shirley Irons, Larger Wind, oil on wood panel, 27" x 41"
Elena Lyakir, Quivers of Spring, archival digital print float mounted with plexi face, 30" x 30"
Rossa Cole, Nam June Paik Takes a Selfie, scrapwood, drywall screws, Blackberrys, found "old cell phones", flip ultra camera, 49" x 22" x 23"
Ruth Ava Lyons, Changeling #27, mixed media, 12" x 12"
Perry Burns, Wallflower II, oil on canvas, 48" x 48"
Dalton Portella, Round and Round, acrhival pigment print, 2/10, 24" x 37" framed, also available mounted on dibond with nonglare UV plexi facemount, 4/6, 33.5" x 54"
Anne Raymond, Sky Composition Blue, oil on canvas, 60" x 60"
Peter Garfield, Mobile Home, Thaw, C-print, edition 10, 29" x 31" framed, image: 20" x 23"
Steven Kinder, WOP 101-18, mixed media on paper, 54" x 42" framed
Cara Enteles, A Mirror to Nature, Night and Day, diptych, oil and spray paint on acrylic sheet, 36" x 48"
Perry Burns, Cara Enteles, Anne Raymond
New and Recent work by Perry Burns, Cara Enteles, Anne Raymond
Nov. 25, 2017 - Jan. 2, 2018
Perry Burns received his BFA from the Rhode Island School of Design in 1988. Since then he has been making paintings that merge the traditions of Islamic pattern and abstract expressionism. Burns' focus is on color, shape, line, mark, texture and pattern. “I do not want to reproduce the visible, I want to create an experience of perception.” Burns has exhibited nationally and internationally, including at the Islip Art Museum as well as the Parrish Art Museum. His work is held in numerous private collections.
Cara Enteles received a BFA from Parsons School of Design and has also studied at the Ecole des Beaux-Arts. She is best known for her nature/ landscape paintings on aluminum and plexiglas panels, which combine silkscreen printing and oil painting with other techniques. Enteles has exhibited internationally and is featured in many public and private collections. “In my mind the trees and plants of the paintings represent nature as a being. They exude power that humans continually try to manipulate.”
Anne Raymond received a BFA from the University of Texas at Austin, and attended the School of Visual Arts in New York. She has exhibited nationally and internationally, and her work is held in the permanent collections of major museums, including the Museum of Fine Arts, Boston. "In both my large abstract oils on canvas and my works on paper, I'm interested in the evocative power of inferred space and energy beyond the edges of the canvas."
Perry Burns, Chrysanthemum Tapestry, oil on canvas, 51" x 84"
Cara Enteles, Backroads, Oil and silkscreen on acrylic sheet, 45" x 68"
Anne Raymond, Windward, oil on canvas, 36" x 36"
Cara Enteles, A Mirror to Nature, revisited, oil and silk screen on acrylic sheet, 48" x 72"
Anne Raymond, Deep Series I, oil on canvas, 40" x 40"
Cara Enteles, A Mirror to Nature, Day and Night, (diptych), oil, silk screen and spray paint on acrylic sheets, 36" x 48"
Anne Raymond, Sky Composition Blue, Oil on canvas, 60" x 60"
Perry Burns, Flower Tapestry 1, Oil on canvas, 44" x 54"
Anne Raymond, Morning, oil on canvas, 48" x 48"
Perry Burns, Night Lily I, Oil on canvas, 36" x 36"
Perry Burns, Night Lily II, oil on canvas, 36" x 36"
Perry Burns, Wallflower I, Oil on canvas, 48" x 48"
Perry Burns, Wallflower II, Oil on canvas, 48" x 48"
Perry Burns, Water Fossil, Oil on canvas, 36" x 72"
Anne Raymond, Cirrus Cadmuim III, Oil on canvas, 60" x 72"
Anne Raymond, Red February Series III, oil on canvas, 24" x 20"
Cara Enteles, Dill Blossoms 3, Oil on aluminum, 24" x 24"
Cara Enteles, Purple Garden, Oil and silkscreen on layered acrylic sheet, 20" x 22"
Cara Enteles, In the Breeze, Oil and silkscreen on aluminum panel, 32" x 48"
Perry Burns, Orient Tapestry, Oil on canvas, 40" x 60"
Cara Enteles, Dill Blossoms 2, oil and silkscreen on acryclic sheet, 26" x 30"
Anne Raymond, Inspiration II, Oil on canvas, 40" x 60"
Anne Raymond, Upward, Oil on canvas, 40" x 60"
Roisin Bateman, Anna Church, Margaret Garrett, Theresa Hackett, Elena Lyakir, Daina Mattis, Steve Miller, Maggie Simonelli
Needless to say... It goes without saying. 'Nuff said.
Elena Lyakir, time's melt, archival pigment print mounted on aluminum with non-glare plexi facemount, 30" x 45", edition 12.
Steve Miller, HOP #592, inkjet and silkscreen on cotton rag, 31.25" x 24", framed
Daina Mattis, Prick, graphite on paper, 22" x 22" framed
Daina Mattis, Stick, graphite on paper, 20" x 30", framed
Roisin Bateman, Napeague Shoals I, oil on linen, 46" x 60"
Anna Church, Blurred Lines I (Black & White), archival pigment print, 41.25" x 37" (framed)
Margaret Garrett, Journal (at dusk), acrylic on linen, 43" x 61"
Maggie Simonelli, Sea of Love from the Birth of Venus series, Encaustic, 16 kt pale gold leaf by Manetti, pigments: Smalt glass blue and manganese blue, Japanese coral, Japanese Iwamomo pink glass, and Chinese cinnabar, cosmetics: CHANEL 96 Utopia eye shadow and CHANEL 847 Envol Illusion d’Ombreeye shadow, aluminum leaf, acrylic under painting, and sea water on birch panel, 36” x 36” x 1 3/4”
Theresa Hackett, Some Stripes, Diatomaceous earth, gesso, Flashe paint, acrylic, marker, clay on wood panel, 24" x 16"
Theresa Hackett, Sauna, Diatomaceous earth, gesso, Flashe paint, acrylic, marker on wood panel, 24" x 16"
Margaret Garrett, Journal (by the sea), acrylic on linen, 43" x 61"
Daina Mattis, Bell Curve, graphite on paper, 50" x 72"
Margaret Garrett, Journal 7.17.17, acrylic on linen, 51" x 66"
Steve Miller, Your Version, My Version, inkjet, enamel and silk screen on canvas, 38" x 23" (framed)
Anna Church, Blurred Lines II (White), archival pigment print, 41.25" x 37" (framed)
Roisin Bateman, Napeague Shoals III, oil on linen, 34" x 34"
Roisin Bateman, Napeague Shoals II, oil on linen, 34" x 34"
Steve Miller, Cidade Baixa, inkjet, pigment dispersion and silk screen on canvas, 65" x 40.5"
Steve Miller, Swearing Softly, inkjet, pigment dispersion, silk screen on canvas, 62.25" x 40.25"
Daina Mattis, Sap, graphite on paper, 75" x 27"
Monica Banks, Butterfly Pie
Butterfly Pie, recent sculpture by Monica Banks, was born from the artist's post election philosophical vertigo. Her feelings of hope, revulsion, optimism and anger swirled about, as if a swarm of butterflies had alighted on the promise of the future, then perished in the morass it became. Banks claims to have been “disrupted” by the current political climate, and as a result spent the last seven months seeking solace in her studio, where she produced a body of work that is part comfort food, part venom.
Banks’ tiny figures are presented on porcelain cakes and other baked goods, such as pies. The work explores themes of consumption, ephemerality and craft, as well as gender roles in the home. Domestic metaphors fly through the studio-as-kitchen window out to the world at large, where a sort of “butterfly effect” stirs human emotions on all sides of the political spectrum. The “prettiness" of Banks’ confections invite the viewer to explore provocative imagery, while offering a mouth-watering, emotional journey.
Monica Banks lives and works in East Hampton, NY. She has been exhibiting sculpture and creating site-specific installations since 1989. Her work is held in the permanent collections of the Parrish Art Museum, The Islip Art Museum, The Museum of Contemporary Art at U Mass, Amherst, and The Catherine Konner Sculpture Park. She has exhibited at White Box, the Center for Architecture in NYC, The Carriage House at the Islip Art Museum, and the Heckscher Museum of Art, among other venues. She created “ Faces: Times Square,” a block-long sculpture which stood in Times Square from 1996-2009, and for which she won an award from the NYC Public Design Commission. In 2016 Banks won an award of merit in the Long Island Biennial presented by the Heckscher Museum of Art, Huntington. She was also included in the 2016 Artists Choose Artists exhibition at the Parrish Art Museum, and went on to serve as artist in residence there. This is her second solo exhibition at the gallery. The exhibition runs through Aug. 12th.
Promise, Glazed English Porcelain, 6 7/8" x 9" x 9"
Animal Hands, Glazed English Porcelain, 14 5/8" x 10" x 10"
Butterfly Pie, Glazed English Porcelain, 2 1/2" x 10" x 10"
Two Tier Cake, Glazed English Porcelain, 11" x 12 1/2" x 12 1/2"
Raised Hand, Glazed English Porcelain, 15 1/2" x 6" x 6 1/2"
Women's March, Glazed English Porcelain, 14" x 18 1/8" x 8 1/4"
Speckled Cake (bugs), Glazed English Porcelain, 7 5/8" x 8 3/4" x 8 3/4"
Two's in Yellows and Blues, Glazed English Porcelain, 8 1/2" x 9 3/4" x 9 3/4"
Lavender Frosted, Glazed English Porcelain, 6" x 7 3/4" x 7 3/4"
One Tall Feather, Glazed English Porcelain, 18" x 7 1/4" x 7"
Pink Slice, Glazed English Porcelain, 5" x 7 1/4" x 7 1/4"
Anthem, Glazed English Porcelain, 6 1/2” x 7 1/2” x 7 1/4"
Monica Banks, Ceremony, glazed English porcelain, 9 1/2" x 7" x 7"
Open Garden is a group exhibition of flower paintings and other media with floral motifs. April 22 - May 22, 2017
Scott Bluedorn, Marissa Bridge, Anna Church, Rossa Cole, Elisabeth Condon, Peter Dayton, Cara Enteles, Emily Filler, Margaret Garrett, Theresa Hacket, Susan Lazarus-Reimen, Stephanie Brody- Lederman, Bruce Lieberman, Christa Maiwald, Judy Mannarino, Steve Miller, Robin Rice, Dan Rizzie, Wendy Small, Donald Sultan, Suzanne Unrein, Ross Watts, Michelle Weinberg, Kathy Zeiger
In these politically charged times it’s become difficult to look at art without reading into it, being offended, or wondering if someone else will be offended. The polarization that has swept our land and divided us is creeping into art. Even an art genre as cliché and benign as flower paintings is not immune.
But sometimes a flower is just a flower. Rose is a rose is a rose.
Open Garden is a tribute to Earth Day. A percentage of sales will be donated to the locally based environmental nonprofit Perfect Earth Project.
Wendy Small, Flower #8 (from Before the Details), digital photograph, 10" x 8", edition 1/5
Suzanne Unrein, Water Dogs, oil on canvas, 40" x 30"
Suzanne Unrein, Render, oil on canvas, 40" x 30"
Lucy Loewenberg, Thistles, digital C-print, 12" x 12", edition 10
Cara Enteles, Weed Bouquet 3, oil on aluminum panel, 48" x 48"
Peter Dayton, Untitled (Daisies), Xerox collage on canvas, 26" x 36"
Melora Griffis, Mommy Cake, oil & acrylic on canvas, 44" x 45"
Marissa Bridge, Big L'il, Lilith #2, oil on canvas, 36" x 36"
Peter Dayton, Daffodil Blur, pigment print collage on wood panel, 12" x 12"
Rose Marie Cromwell, Silk Flowers, archival digital print, 37" x 30", edition 2/5
Stephanie Brody-Lederman, Spring Flowers, ink, acrylic, graphite on arches paper, 14" x 18"
Elisabeth Condon, Small American Bird, Acrylic on canvas, 20" x 16", courtesy of Lesley Heller Workspace
Ross Watts, Flor.blanco, Tar Paper, burlap and plaster on wood panel, 30"x 30"
Ross Watts, flor.negro, Tar Paper, burlap and plaster on wood panel, 30" x 30"
Robin Rice, Shira Smelling Sunflowers, Archival pigment print, 16" x 20"
Kathy Zeiger, Little One, Archival pigment print, 26" x 20", edition 10
Ani Antreasyan, Bill Armstrong, Scott Bluedorn, Nuala Clarke, Rossa Cole, Rose Marie Cromwell, Elizabeth Dow, Glenn Fischer, Margaret Garrett, Melora Griffis, Sylvia Hommert, Kelly Neidig, Dalton Portella, Barry Underwood, Suzanne Unrein, Maggie Simonelli, Judith Simonian, Mark Webber
The phrase other people's boats implies that someone else will pay. We, the guests, will get a free ride without having to be accountable for the built-in costs associated with aquatic adventures. Neither will we be required to do the clean up/ follow up/ repair work when the ride is over.
#friendswithboats examines just some of the symbolism inherent in boats, without necessarily depicting them literally. Boats are sources of leisure and commerce, battle and escape, departure and arrival, adventure and boredom. They conjure transit and movement that is sometimes hopeful, sometimes terrifying. Their history is steeped in migration, exploration, hunting, competition, pirating and human trafficking, as well as ordinary transportation. Boats may be packed with people trying to find a better life or contain a lone survivor in a life raft.
#friendswithboats is partly about waiting for someone to come to the rescue. It underscores the interdependancy of humans who are connected and simultaneously separated by the oceans, bays and rivers around us.
A percentage of proceeds from sales will be donated to Breakwater Yacht Club’s Youth Sailing Scholarship Program. Breakwater Yacht Club, a non profit organization based in Sag Harbor, NY, offers accessibility to the sport of sailing for people of all ages, incomes and experience levels http://breakwateryc.org/.
Through July 11. For pricing inquiries, email email@example.com.
Installation view of #friendswithboats: Small paintings by Nuala Clarke (upper left), wave by Margaret Garrett (lower left), photograph by Barry Underwood (courtesy Sous Les Etoiles Gallery)
Judith Simonian, Sperlongaln Norway, acrylic on canvas, 64" x 54"
Nuala Clarke, Sky coloured iii, acrylic on board, 17 3/4" x 13 1/2"
Rose Marie Cromwell, The Beach, archival digital print, 30" x 37", edition 2/5
Nuala Clarke, As above so below, acrylic on board, 17 3/4" x 13 1/2"
Nuala Clarke, Neither fish nor fowl nor good red herring, acrylic on board, 17 3/4" x 13 1/2"
Suzanne Unrein, Sit!, oil on canvas, 76" x 64"
Elizabeth Dow, Journey, oil on paper, 41" x 31" (framed in white)
Melora Griffis, nautical intervention, acrylic and pastel on canvas, 18" x 18"
Ani Antreasyan, Daydream, archival digital print, edition 5, 31" x 31" (framed in white)
Sylvia Hommert, Searchlights, aquatint, beeswax, holographic paper, & resin on birch panel, 4 panels, 28" x 22" x 2" (overall)
Margaret Garrett, wave, digital print on two fabrics (silk/ cotton sateen) mounted on wood, edition 7, 22" x 45" x 3"
Dalton Portella, Somebody Else's Boat, acrylic on canvas, 24" x 20"
Sylvia Hommert, Migrations, silver spray paint, beeswax, holographic paper & resin on birch panel, 24" x 24" x 2"
Bill Armstrong, Seascape 2, archival pigment print, 16" x 22", edition 10 (framed in white)
Kelly Neidig, On Borrowed Time, Flashe on canvas, 30" x 40"
Dalton Portella, Bryn and the Ghost of the Bounty, oil on canvas, 48" x 48"
Melora Griffis, Dreamboat, acrylic on canvas, 65" x 68"
Judith Simonian, Napolean's Yellow Boat, acrylic on canvas, 24" x 29"
Glenn Fischer, Lazybones Day, paper collage on wood panel, 10" x 8"
Rossa Cole, S.O.S., mixed media, 29" x 15" x 5"
Alexis Martino, Yearning, archival digital photograph, 21" x 31", edition 5
Margaret Garrett, "writ in water", acrylic on linen, 66" x 51"
Rose Marie Cromwell, Los Banos del San Juan II, archival digital print, 19" x 24", edition 5
Melora Griffis, paddle sound, acrylic and pastel on canvas, 12" x 24"
Mark Webber, Passenger, Rough sawn white oak, galvanized steel, hydrocal, graphite, epoxy on resin, 72" x 23" x 10"
Mark Webber, Passenger, (other view), Rough sawn white oak, galvanized steel, hydrocal, graphite, epoxy resin, 72" x 23" x 10"
Mark Webber, Little Passenger, Mahogany, hydrocal, graphite, epoxy resin, 14" x 6" x 2"
Velocity Games, Margaret Garrett, Steven Kinder
Sara Nightingale Gallery is pleased to present Velocity Games: New Work by Margaret Garrett and Steven Kinder, opening Saturday, May 26, 6:00 - 8:00 pm. Both artists are inspired by motion in the natural world and/ or the human body.
Margaret Garrett is an artist and dancer whose abstract paintings allude to the qualities of rhythm and movement. Trained as dancer, she left home at the age of sixteen to join the Pennsylvania Ballet and later danced with the Cleveland Ballet as a soloist. She began to paint in her early twenties, finding something spiritually akin to dance in the movement of line and color. Garrett’s approach to painting is strongly influenced by her early training in dance. “When I begin working on a new piece, I see the paper or canvas as an empty stage…” Texture, form, and the interaction of colors are, for her, manifestations of motion, rhythm, and energy.
Garrett works in ongoing series, such as her Tuning Fields series, in which line-driven layers of color create loose, yet formal, fields of motion. In her Choros series, shapes have a solid, even muscular form, conveying a sense of motion and choreography. Garrett has recently returned to dance, filming herself moving and then using stills, video clips and screenshots as inspiration for her paintings. Her dances are for her “drawings” in space; a video piece will be included in the exhibition.
Steven Kinder attended Cooper Union and has been making drawings, paintings, and large scale installations inspired by movement, energy and "natural forces" for over four decades. His recent work advances his interests in various forms of dynamic tension found in nature, specifically tidal bores, surges, and whirlpools. Even his easel is not static; he designed a rotating mount for his works.
Kinder wants his work to "call out in some way". He is inspired by the eternal color of Rothko, the angst embedded in the figures of Bacon, and geometric abstractions.
In his recent work, Kinder further explores tension and balance between the intuitive, gestural mark and the intellectual organization of form. His nine inch square drawings, a format he has been using for years, have now become templates for his larger paintings. In these templates, Kinder explores how form and color can come together and break apart while maintaining compositional integrity inside a small space. When Kinder translates the small drawings onto larger canvases, there is a palpable and necessary shift of pressure, color intensity and rhythm.
Works of various mediums and scale by both artists will be included in the exhibition. Margaret Garrett lives and works on Shelter Island. Steven Kinder has studios in Water Mill and Brooklyn.