Friday, February 15, 2019

Must Love Dogs!!!! South Florida "Dog Artist" Skip Hartzell creates work inspired by man's best friend. Love this!!!

Must Love Dogs!!!! South Florida "Dog Artist" Skip Hartzell creates work inspired by man's best friend. Love this!!!

Jamie Ellin Forbes

Skip Hartzell creates sculptures, large paintings and works on paper that capture the essence of “dog”

South Florida "dog artist" Skip Hartzell's work pays homage to the liveliness, lovability, loyalty and natural beauty of canines. His painterly expression captures each dog’s own personality with beautiful textures, line and brush strokes using mixed media to bring each dog to life.
'Toy Four', (2018) Oil on Canvas, 60 x 48 Inches.

The artist is best known for his unique sculptures recognized immediately by their distinct form and style that only Hartzell can produce. But don’t be fooled by the cuteness of his work — just like real dogs, Skip’s dogs draw you in. All of the work is rich with intricacies of color and technique.

Hartzell is a longtime supporter of no-kill animal rescues and donates proceeds from the sale of his artworks to animal-rescue, no kill shelters. For sales, commissions, general inquiries or upcoming show information, email: / visit

This is a must-see show. Catch Mark Dagley at the David Richard Gallery.March 3-31, 2019

This is a must-see show. Catch Mark Dagely at the David Richard Gallery. I applaud Dagley's body of work. The gallery is displaying  Dagley's rich body of work to underscore the use of line to emphasize abstraction and geometric form. ... Jamie Ellin Forbes

Mark Dagley, Spectral Presence, 2006, Acrylic on canvas, 64" x 54"
Copyright © Mark Dagley


March 3 through 31, 2019

OPENING RECEPTION: Sunday, March 3 from 3:00 to 7:00 PM 

David Richard Gallery, LLC 
211 East 121 ST | New York, NY 10035
P: (212) 882-1705
David Richard Gallery is pleased to present Neo-Op, an exhibition by Mark Dagley featuring a comprehensive body of work begun in 1994, with several new canvases finished as recently as February of 2019. This work emerged out of Dagley’s systematic approach to structure using a specific set of material constraints and limitations on color. The results include multiple series in two and three dimensions: paintings, sculpture and works on paper using simple motifs of geometric progression, linear interplay, concentric organic forms and chain-linked lozenges.

The presentation will be on view from March 3 through 31, 2019 with an opening reception Sunday, March 3 from 3:00 to 7:00 PM on both the Ground Floor and Second Floor exhibition spaces at 211 East 121 ST, New York, NY 10035. Please contact the gallery at or call 212-882-1705 or cell 505-467-9742 for additional information. 

Dagley was born and raised in Washington, D.C., where he began studying painting at the Corcoran in his mid-teens. Though the region’s Color School had a great influence on his artistic development, he has always aimed to be something more than a second-generation participant. His interests in color, finish and surface have led him in many directions, but the categorization of his work has, up until now, been more “post” than “neo.” Several of Dagley’s paintings were included in the exhibition Post-Hypnotic, which traveled the country from 1999-2001, and much of his work has been referred to as Post-Structural. However, in keeping with the artist’s desire to remain in the moment, or one step ahead of it, this show has been titled Neo-Op. 

Mark Dagley’s creative output is not limited to fine art. He is also a musician, composer, audio engineer, videographer, essayist, publisher of art books and limited editions. He has performed and recorded, mostly as a guitarist, since the late 1970s. Among his past band mates are fellow artists George Condo and Steven Parrino. Dagley and his wife, author and actress Lauri Bortz, co-founded Abaton Book Company, a publishing house and music label, in 1997 and have been running it together ever since. Dagley is currently studying music theory at Juilliard and classical guitar privately. The musical patterns he’s been immersed in are echoed in his recent paintings. 

Neo-Op is Dagley’s first solo show with David Richard Gallery. 
David Richard Gallery, LLC
211 East 121st Street, New York, NY 10035 | p (212) 882-1705
10:00 a.m. - 6:00 p.m. Wednesday - Sunday or by appointment#fineartmagazine

Thursday, February 14, 2019

At Sanchti Art, Catch Neeraj Goswami if your in New Delhi, Feb. 11-28th.

Solo show

Meditative Moorings
Neeraj Goswami | Life is beautiful | 39in x 84in | Oil on Canvas
Neeraj Goswami
Beleagured Angel
17in x 11.75in x 12.25in
Edition of 5
On Display
11 - 28 Feb, 2019

Sanchit Art
DLF South Court, Saket, New Delhi
(Get Directions)

On the North Shore of Long Island? Catch Kelynn Z. Alder, Long Island painter, is the featured guest at the Reboli Center for Art and History’s Third Friday event to be held Friday, February 15, from 6 – 8 PM.

The Reboli Center for Art and History Presents:
Ancestral Journeys:
Doug Reina interviews artist Kelynn Z. Alder
Third Friday at the Reboli:
February 15, 2019  6 – 8 PM


Kelynn Z. Alder, Long Island painter, is the featured guest at the Reboli Center for Art and History’s Third Friday event to be held Friday, February 15, from 6 – 8 PM.  Ms. Alder’s work is currently on exhibit at the Reboli Center. Join us for the interview, as Ms. Alder guides us through the imagery of her colorfully symbolic paintings depicting her Mexican ancestors’ journeys as well as her own.  The Third Friday program is a monthly cultural program sponsored by the Reboli Center that brings new perspectives on art and artists.

Kelynn Z. Alder is an accomplished artist of Mexican American heritage who grew up in a peripatetic family that lived in several countries and traveled extensively. At a young age, she learned to appreciate a wide range of the world’s living cultures and became fascinated by peoples’ diverse backgrounds. Defined as a “Visual Essayist with a Wanderlust,” Kelynn has followed traditional expeditionary methods of painting in the field, combined with work in the studio. She is drawn to portraits of everyday people, from Coney Island to Mexico. Kelynn is featured in the book, 100 New York Painters, by Cynthia Maris Dantzic, and has also been commissioned by notable publications such as The New YorkerTime Magazine, and Australian Geographic as well as many private collectors. She is internationally recognized for documenting indigenous people and their artifacts, especially the Maya of Chiapas, Mexico and Aboriginal elders of Australia.  Her home and studio are located on the north shore of Long Island.

The Reboli Center Third Friday program is free to the public and no reservations are required. For more information about the event, go to or call the Reboli Center at 631-751-7707.

The Reboli Center is located on Stony Brook Harbor in a landmark historic building. Its mission is to preserve the legacy of local artist Joseph Reboli and to foster a meaningful understanding and appreciation for culture and the traditional arts through exhibitions and educational programs. The mission of the Design Shop is to sell and exhibit the best contemporary fine crafts by artisans working in all creative fields.
Hours: Tuesday - Saturday 11:00 am - 5:00 pm Sunday 1:00 pm - 5:00 pm
The Reboli Center for Art and History PO Box 435 64 Main Street Stony Brook NY 11790 


Wednesday, February 13, 2019

Want to see beautiful contemporary abstract landscapes Catch the Foley Gallery, Szilard Huszank, Feb.20-Mar.31st 2019 !!! Looks like a nice show to visit if your in NYC

["Foley Gallery"]

Szilard Huszank

gently down the stream

February 20th - March 31st 
Opening Reception: February 20th 6-8pm

Foley Gallery is pleased to present Gently Down the Stream, a solo exhibition featuring paintings by Szilard Huszank. This will be the artist’s first exhibition with the gallery and first in the United States.

Small streams and waterfalls, felled trees and forests are the revered subjects in landscapes that Huszank explores with vibrant, near-psychedelic colors. The oils are spread thick in long cascading gestures, punctuated by tighter lines that define natural details of stones and branches; soft flowing water framed by more solid ground. The imagery suggests untouched, pristine landscapes far removed from the pace of an urban world. The colors and content invite us into a fresh atmosphere, forcing the eye to readjust with newly assigned colors to each changing landscape.

“Szilard not only employs different techniques of applying paint but also makes particular use of the potential impact of color. Seemingly spatial pictorial passages are purposefully de-familiarized by means of an anti-naturalistic use of color and the sometime aggressively flickering color contrasts oppose spatial effects.” (Martin Hellmold)

Szilard Huszank was born in 1980 in Miskolc, Hungary. He currently lives and works near Augsburg, Germany. He studied at the Hungarian University of Fine Arts, Budapest and the Akademie der Bildenden Künste, Nuremberg, Germany. Solo exhibitions include galleries in Hanover, Munich, Nuremberg and Freiburg, Germany.

Gently Down the Stream is on view through March 31st, 2019. Foley Gallery is open Wednesday through Saturday, 11 – 5:30pm and Sunday from 12-5pm. To request images; please contact the gallery at
["Foley Gallery"]

If your in LA tonight you are invited to Join Cathy Breslaw at the Magic Box, Looks like a good time for all!!!

You're Invited to My Space #Z01 at the Superfine! Art Fair 
Los Angeles
February 14-17
at the Magic Box, Downtown LA

Welcoming new and seasoned collectors, featuring smaller mixed media works:

*Wall works from Circle Garden series
*Transparent mesh works from Tapestry series,
            *Layered transparent mesh works from Atmosphere series                  *NEW installation - Spheres of Influence

I have 15 free tickets - email me to get a free ticket. Hurry before I run out OR buy tickets "BUY TICKETS" (link below)
Learn More About Superfine! and Buy Tickets

Tuesday, February 12, 2019

Take a look and compare the two artists here/ let me know what you think. Eduardo Arroyo and Jessie Harris

I opened my mail to select the posted material for the day and happened upon repetitive styles of imagery offered by two differing galleries. Eduardo Arroyo's composition revisits the Advent Gard through the Paris School. Jesse Harris cites  Roland Barthes, twentieth-century art theorists, conceptually within her text to explain the use of her derivative imagery. The application of Barthes theory won't fix a lack of composition and the flat dimensionality within the style offered. 

                                                                                                             Jamie Ellin Forbes 2/12/2019

Eduardo Arroyo and the Paris School are the stars at LA SUITE 

-On the 14th February six paintings by the famous Spanish artist and others by various representatives of the Paris School will be on sale, as well as a large collection of netsukes 

February 2019 
The first auction of the year at LA SUITE focuses on one of the two specialities of the Barcelona auction house: 20th century art. “After months of selection, we can present paintings by Spanish artists who relocated to Paris in the first half of the 20th century, attracted by the avant-garde. They formed a heterogeneous group which came together with Picasso at its centre, and which was known as the Paris School,” the director of LA SUITE, Beatriz du Breuil, affirms. An outstanding lot from among the 195 which will come under the hammer on Thursday 14th February is Camel, by the recently deceased genius Eduardo Arroyo (1937-2018); it is lot 52, a collage signed in 1986 measuring 38 x 54 cm. There are five more works of art by the Madrid-born artist in the auction, such as lot 3, Fausto, mixed media and collage on paper, also signed and dated (this one in 1989), measuring 47 x 41 cm., as well as two engravings and a xylography.
Other Paris School artworks which will appear in the auction are a marvellous oil painting on canvas by Hernando Viñes (1904-1993) signed and dated in 1930 (81 x 65 cm.), a still life by the Malaga-born artist Joaquín Peinado (1898-1975) from 1958 (38 x 61 cm.) a delicate watercolour by Pere Pruna (1904-1977) depicting three women and dated in 1925 as well as Paysanne an expressive canvas by Antoni Clavé (1913-2005) signed (circa 1946, 81 x 65 cm.) which was originally exhibited in the Parisian Galerie Delpierre.
A large collection of Murano glass will also be up for auction, including vases and lamps by artists such as Vittorio Zecchin, Fulvio Bianconi for Venini, Ercole Barovier, Archimede Seguso, Licio Zanetti, Flavio Poli, Carlo Scarpa, Gino Cenedese and Vittorio Rigattieri. 
Also, for collectors of netsukes, a second selection is on offer from a large private collection.  There are also Art Nouveau and Art Deco objects and furniture. 
It is well worth coming to see the exhibition in our gallery; Erick, our window dressing artist, has created a magical entrance-way, full of different coloured lamps, glass vases, and a bar by the French cabinet maker Jules Leleu. Unmissable.
Buyer´s premium is 26,62% (including VAT).

Exhibition: Until 14th February.
From Monday to Friday: From 10am to 2pm and from 4.30pm to 8pm.
Saturdays: From 10am to 2pm and from 5pm to 8pm.
Conde de Salvatierra, 8. 08006, Barcelona
Twitter: @suitesubastas 
Instagram: @lasuitesubastas  

Jesse Harris
Ad Nauseam
February 16 - March 23, 2019

Opening reception: Saturday February 16th, 4-7pm 

COOPER COLE is pleased to present a solo exhibition by Jesse Harris. This marks the artists third solo exhibition with the gallery.

While the removal of the author may simply be a part of discourse (Barthes)... by hiring an art forger, the artist produces simulations of paintings that question questions of authorship, ownership, originality and plagiarism, et alia, et cetera, ad nauseam.

The following texts are written by Jenine Marsh.

Jesse Harris (1) 

Nothing new is happening here. It’s a doorless hallway of parallel mirrors, an endless regression where nothing is singular, and everything, even the shadows, even the reflections, are for sale. All these fruitless desires are haunted by the spectral original, the phantom of the opera, the specter of the spectacle. But in this vision, there can be no difference between ghosts and actors. Like food that’s been over-processed, boiled and sterilized, filled with fillers, chemical preservatives, fake flavors and dyes, nothing remains that can be called original, real or authentic. The copy of a copy of a copy slips like beads of oil from one economy to the next. Money is simply rejection 1. Fantasy is the only possible product.

Through the 1980s, media shifted from analog to digital, advertisements switched from painting to photography, and markets became more global. These shifts ran parallel to my own developmental and transitional years, and trained in me an anxious expectation for rapid redundancy, not only of products, media platforms and devices, but of my own self images. Known through ever-changing desires, the concept of an authentic self becomes a series of willful hallucinations. A consumer is as faceless as the illustrator, as nameless as the counterfeiter, as unreal as a ghost. All the consumed and repressed images stand to fortify an insubstantial interior; a house of dirty mirrors. 

Desire, like spice, is the essential ingredient, and a currency all its own. I was a thirsty little suburban sponge, and in the course of sopping up countless heavy-with-gloss magazines and two-minute commercial breaks, my unconscious mind was flooded by a thousand little addictions. Brainwashed is the word. But this sounds so clean and empty. It was more like a subliminal and thorough brain-staining. Not being a rich-enough kid meant that the ads themselves had to satisfy. And they did, in the way that junk food both feeds and triggers desire without nourishment. 

Ads were feasted over, torn from magazines, tacked to walls, savored. The best ones used the theatrical frontality of pantomime and trompe l’oeil to shimmer enticingly as mirages on the page or screen or sign - they look so real. But each devoured image is a still-life painting of yesterday’s banquet, whose imported delicacies were manufactured to cause salivation, not satisfaction. The fruit is painted, cloned meat is already dead, and only sand and cadmium hit the mouth. 

Though already slightly dulled by time’s greasy dust, reflected in the sheen of these images is still an unmistakable likeness. I am what I ate. Someday, once their ghostly shimmer has dried up into the sterile hieroglyphs of a long-dead world, they might be used to chart our dogged progress down the drain, to map out the edge where this world finally ended. But now, in the acid vat of the mind, they float to the surface like oil’s Technicolor skin on water, suffocating what it covers. This stain can’t ever be washed or spit out. So swallow it down into the draining SSSSSSSHHHHHHHHHHHHH of TV static.


Catch Art Genova, Looks like fun to me!!!!

UFOFABRIK Contemporary Art Gallery
15a Fiera d'Arte Moderna e Contemporanea
15-18 Febbraio 2019 I Pad. Blu - Stand 1 - Fiera di Genova - Italy

Project Greece-Italy
Curated by Mauro Defrancesco

EPsilon Art Gallery




Iinvito all'inaugurazione di giovedì 14 febbraio valido per due persone: