Cach the fremin Gallery opening Dec. 3 rd. 6-8 PM !!!!

Fremin Gallery is welcoming you on Thursday, December 3rd from 6 to 8pm for our second Connecting the Dots opening, featuring the thread and nail artworks of Nemo Jantzen and the black & white photography of Nicolas Auvray. View the complete Connecting the Dots series on our Artsy Page and the full exhibition video Here!! Following the CDC guidelines we will be rigorously cleaning and sanitizing the gallery as well as practicing social distancing recommendations. Only 20 people will be allowed inside the gallery at any given time, mask will be required and hand sanitizer will be provided at the entrance. Please RSVP at info@fremingallery.com so we can plan accordingly. “High Fashion” _ Content: Fashion, haute couture, brands, fashion-photography, catwalks etc. Size: 44”x 59” Inches with Ø1.5” Spheres (112x150cm. with Ø3cm. Spheres)_ In a captivating new body of works, Nemo Jantzen elevates Neo-Pointillism to dazzling new heights, creating vividly representational renderings that are composed entirely of nails and thread. Demonstrating remarkable craftsmanship, Jantzen first creates a guiding map from hundreds of stainless-steel nails, mounting each individual nail onto a wooden board. With meticulous precision, the artist then charts a single thread, moving from nail-head to nail-head, layering the fiber in such a way that the desired image materializes with dramatic clarity. Each layer of thread is further activated by the play of light on its surface as cast-shadows blend together into one united visual effect. The result: a photo-realistic relief sculpture forged from the artist’s raw materials that are beholden to every unique viewer’s individual perspective. “Keep Cool" Content: Thread and Nails. _ Size: 55.5”x 48” Inches_ Prolific across medium, Nemo Jantzen has worked in both two and three-dimensional modes of artistic expression over the course of his lengthy career. Until now, he is perhaps best known for hyper-realistic paintings that explore cinematic stills, or portraits of celebrities; evoking iconic images which are often embedded in our collective unconscious. His chosen subject matter often illustrates the overlap between our memories of images from contemporary cinema and our real-world experiences. It is from this ardent source of pop-culture inspiration that Jantzen conceived of the incredible works on view in Connecting the Dots. “Wonderland" Content: Photography. _ Size: 43”x 53” Inches_ For Connecting the Dots, Nicolas Auvray selected work from «Attractions Nocturnes» to presents a series of night photographs. It begins as a walk through the cities at night. Familiar places are re-discovered, figures appear and disappear in the darkness where metamorphosis and transitions take place. The bright street lights appear as a Leitmotiv between the images, linking them and embarking us on his journey. We are invited to follow the dots that connect these scenes. In these images, the city is a metaphor. Paris, Stockholm, New York…no importance… what matters is the universality of impressions. Spectators are invited to explore other worlds and be transported in dreamlike scenes to follow their aspirations, and maybe, deeper, darker passions and to look further into their identities Nicolas Auvray relies on traditional photographic materials to capture the extraordinary atmosphere of tangible realities. Whilst stopping for a moment, he tries to reveal something almost nonexistent in scenes that will stimulate or highlight ones senses, emotions and past experiences. Nicolas Auvray was born in France. After several years living in various countries around the world, he moved to New York in 2005 where he currently lives. He studied at the International Center of Photography (I.C.P.) in New York where he also works. For his work, he uses analogue cameras (medium and large format) and prints primarily in the traditional darkroom in Paris and in New York. His work has been presented internationally in France, Japan, the UK and the USA and is collected in private and public collections. In 2018, a selection of his work entered the photography collection of the Bibliothèque nationale de France (BnF). www.fremingallery.com 212.279.8555 info@fremingallery.com Follow us on Instagram Follow us on Facebook Follow us on Twitter ©2020 Fremin Gallery | 520 West 23rd Street, ground floor.

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Catch The Lisa Sette Gallery: Nature & Structure Kim Cridler, Mayme Kratz, & Marie Navarre March 6, 2021 – May 1, 2021!!!

URE & STRUCTURE KIM CRIDLER, MAYME KRATZ, & MARIE NAVARRE — Nature & Structure Kim Cridler, Mayme Kratz, & Marie Navarre March 6, 2021 – May 1, 2021 Opening Reception: TBD Celebrating a season of renewal and a long-anticipated transition toward new patterns of being, Lisa Sette Gallery’s spring exhibition, Nature & Structure, features works that involve the natural world as both symbol and science: human representations of nature become a vital means of transmitting information toward future generations. Marie Navarre’s serenely inquiring photographic constructions, Mayme Kratz’s glowing resin castings, and Kim Cridler’s steel vessels all illuminate the contradictions at play in a moment of dramatic environmental and social change.  Capturing timeless, universal scenes, such as the abstract pattern of a flock of birds traversing the sky, a spray of branches in early bloom, or horizons unmoored from specific times and places, Marie Navarre’s photo constructions resemble the Japanese haiku form that inspires her. Working with vast collections of images of natural phenomena captured on her travels, Navarre conjures images that appear to be from just outside the realm of human observation. Navarre’s prints are often collaged and hand-stitched over backgrounds of satin-like Gampi paper, enigmatic photographic constructions that document the implications of a moment in nature and in time. “I have this trouble of being a photographer but wanting to make the photographs into something else. I still think like a photographer even though in some ways I’m sabotaging the way that photography works. I still begin my artmaking process by making pictures. I don’t know how to begin without the photograph.”   Mayme Kratz is an artist and advocate for the flora and fauna existing within the high deserts of the Southwest. Kratz draws inspiration from the stark beauty of these environments, memorializing not only the botanical treasures that she finds on her restless travels across Western landscapes, but also the overlooked minutiae: In Kratz’s cast resin forms, a handful of gravel or small burrs may be transformed into a likeness of the vast swirling galaxies from which it originates. Kratz captures the ephemeral radiance of these harsh environments and the delicate calibrations of fragile ecosystems. They also provide her with material: seedpods, insect wings, cactus roots, bleached animal bones, leaves, grasses and flowers. Kratz’s precise formal designs lead the viewer to contemplate the infinitely large, calling to mind the cosmos of stars and planets, as well as the impossibly small, alluding to cellular and crystalline structures.   Kim Cridler’s steel vessels are made up of the angular forms and facets of fabricated metal, but among these angles are unexpected organic treasures: berry-like jewels, beeswax, and horsehair. The juxtaposition of materials allows Cridler to explore vessel forms as a means for holding memory and meaning. “I was making raised hollow ware, like that made by Paul Revere, and was fascinated with the kind of work that carried a lot of sentimental value in families. I learned about my family through these types of things… The reason they were important was the family connections, the memories and the sentiment that invested in the objects, not how they were used. I started making objects that were stripped down, torn apart, because I wanted to get the emotional charge these things carry.” Navarre, Kratz, and Cridler convey a relationship between human aesthetic, practice, and biological patterns beyond our control, holding specific memories of our world while introducing the possibility of existence within changed landscapes.   Essay and images copyright Lisa Sette Gallery. To request high resolution images, please contact us at (480) 990-7342 or email Ashley Rice Anderson at sette@lisasettegallery.com. For over 35 years, Lisa Sette has remained committed to discovering and exposing original, intriguing forms of expression. Lisa Sette Gallery exhibits painting, sculpture, photography, video, installation and performance pieces from an impressive roster of emerging and established artists, as well as maintaining a clientele of local and international collectors devoted to its founder’s adventurous curatorial vision. Images: 1) Marie Navarre, find us soon, 2020, archival digital print on Surface Gampi, Rives BFK, 25.5" x 25" unframed, Edition of 5, 2AP 2) Mayme Kratz, Blue Moon 5, 2020, resin, seeds, bones, shells, Hollyhock blossoms, Cicada wings on panel, 36" x 36" 3) Kim Cridler, Hare, 2020, steel, brass, chrysoprase, 33" x 26" x 17"   LISA SETTE GALLERY 210 East Catalina Drive, Phoenix, Arizona 85012 480 990 7342 map | directions GALLERY HOURS Tuesday – Friday 10 – 5 Saturday 12 – 5 and by appointment closed Sunday and Monday SOCIAL PROFILES       #lisasettegallery#fineartmagazine#artfun

Great fun! Very interesting viewing at the Haines Gallery: JUST ONE WORK | DAVID MAISEL's Air Force Target Grid Building photography.

JUST ONE WORK | DAVID MAISEL

In this ongoing series, Haines Gallery invites you to slow down and focus on a single artwork, which we’ll consider from a variety of perspectives. Today, we proudly present:

Air Force Target Grid Building

David Maisel, Air Force Target Grid Building, 2014 Six archival pigment prints, 2017 47 x 93 inches overall, framed

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David Maisel’s Air Force Target Grid Building is a single work comprised of six black-and-white photographs depicting a mysterious, stepped architectural construction seen against a vast desert. Shot from a variety of angles at ground-level, this ziggurat-like structure, with its evocative open door, remains both inviting and inscrutable, even as the landscape gradually unfolds around it.

“These sites reflect back the psyche of the society that made them, revealing something at the core of who we are.”

In fact, Maisel’s pristine, compelling images are part of Proving Ground, the artist’s 2015 series investigating the uncanny architecture and scarred terrain of a classified military site in a remote region of Utah’s Great Salt Lake Desert. Established in 1942, the Dugway Proving Ground serves as a center for the development and testing of weapons and defense programs. Maisel was granted access to the site after more than a decade of inquiry to the Pentagon. The resulting body of work continues the artist’s longstanding interest in documenting humanity’s transformation of the landscape, as well as raising questions surrounding military power, land use, and national security. Maisel recently spoke to the BBC about the series here.

“It became a kind of enigmatic structure that condensed a lot of my interests in how Dugway uses the landscape in this hyper-rational way.”

The hauntingly beautiful images that make up this work depict a building that beckons viewers without affect. With its stark, matter-of-fact approach and gridded structure, the lineage of The Air Force Target Grid Building can be traced back to the work of photographers such as Robert Adams, Bernd and Hilla Becher, and others who would famously become associated with the New Topographics movement of the 1970s. This approach to photography focused on the seemingly mundane aspects of our built environment, transforming subjects such as track housing and water towers into evidence worthy of study and imbued with a surprising allure.  The Air Force Target Grid Building is at once an abstraction, a marker, and a system of measurement, built to be seen from above by Air Force pilots as they make their way over Dugway at extreme speeds. Maisel chanced upon his subject while driving and was immediately struck by its potential. He photographed the building from each side, just short of a full revolution: “There’s always some part of it that remains hidden,” the artist observes.

“Proving Ground is a complex examination of the choices we have made on how to use our Western lands and the implications of those decisions.”  Dr. Rebecca Senf, Chief Curator, Center for Creative Photography #hainesgallery#fineartmagazine#artfun

Morgan Lehman Flat. File Friday! Fun Viewing!

FLAT FILE FRIDAY

New artworks from Morgan Lehman's flat files in your inbox every Friday morning

Kim McCarty Untitled, 2020 Watercolor on paper 22h x 30w in 26h x 34w in framed $6,500.00

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A graduate of UCLA (MFA) and the Art Center College of Design, Pasadena (BFA), Kim McCarty's solo exhibitions include Morgan Lehman Gallery, New York, NY;  David Klein Gallery, Detroit, MI; Cherry and Martin, Los Angeles, CA. She has been featured in numerous group exhibitions including LA Emerging Artists at the Dominique Fiat Gallery, Paris; Liquid Los Angeles: Contemporary Watercolor at The Pasadena Museum of Art, CA; and Erotic Drawing at The Aldrich Museum of Art, Ridgefield, CT. McCarty's work is in the permanent collections of The Hammer Museum of Art, Los Angeles, CA; The Museum of Modern Art, New York, NY; and the Honolulu Academy of Art, HI.

www.morganlehmangallery.com | 212-268-6699 | Thurs - Sat 11-6  ‌  ‌  #lehmangallery #fineartmagazine#artfun