M Gallery will host an Open House and Reception on Saturday, February 26, 2011 from 4pm – 8pm.

“American Tonalism:  New Works by Patrick Milbourn and Lee Anne Morgan”

Painter, Patrick Milbourn and photographer, Lee Anne Morgan, bring  forth their newest expressions of the American landscape.  It’s a he-sees, she-sees exploration – one captures with a paint brush while the other caresses with a camera.

The styles are complementary.  Muted  colors harmonize hazy fields, dreamy pastures, and soft lit paths.  The journey is subtle and the imagery narrative.  One yearns to be there, enjoying the serenity as tonal nuances define the moment.

Patrick Milbourn is a Master Pastellist and an award-winning artist whose work has been recognized by the Pastel Society of America, the National Academy of Art, the Salmagundi Club and the prestigious American Academy of Arts and Letters.  His works are in private collections in Europe, Asia and the US.  Patrick has recently been inducted into “Who’s Who in American Art”.

Lee Anne Morgan experiments with various techniques in photography and painting, sometimes merging the two, but most often retaining the purity of each medium.  She has created a unique technique – a ‘painterly’ style using cameras, lenses, and natural lighting with simple-to-complex subjects . . .  all brought into her “dry darkroom” for final work and printing.  She’s exhibited in solo and group exhibits, and her work resides at the Samuel Dorsky Museum at SUNY/New Paltz, as well as in private collections.

M Gallery will host an Open House and Reception on Saturday, February 26, 2011 from 4pm – 8pm.

M Gallery, open since 2005, is located at 350 Main Street in Catskill, New York. 

Information is available at 518-943-2189 or 518-943-0380.  The exhibition will be  through  March 15, 2011.   www.mgallery-online.com

On Thursday, March 3rd, a new exhibition will open at John Davis Gallery.

Barry Bartlett
Sculpture

Angels and Animals, 2010, 27 x 18 x 18 inches, porcelain

On Thursday, March 3rd, a new exhibition will open at John Davis Gallery. The work Barry Bartlett will be displayed in the main galleries. There will be a reception for the artist on Saturday, March 5th from 6 - 8 p.m. and the show will run through Sunday, March 27th, 2010.

Barry Bartlett has been exhibited throughout the U.S., most recently in solo shows at the Gary Tatintsian Gallery in NYC; Anna Kustera Gallery, NY and a series of group show -Maryland Art Place, MD, Baltimore Clayworks, MD. Islip Art Museum, NY and the Neuberger Museum, Rotunda Gallery Brooklyn, NY. He is a recipient of two National Endowment for the Arts Fellowships in the Visual Arts. The work has been reviewed in the American Ceramic and Ceramic Monthly magazines. He is currently a Faculty member at Bennington College, Bennington VT and has taught there since 1987.


"A visit to Bartlett's Hudson valley studio reveals shelves stacked floor-to-ceiling and three deep with used ceramic hobby moulds. Reading their labels, one encounters a kind of found poem: Monk head/ White horse/ Dreams of long ago/ Jesus/ Robert E Lee/ Standing clown/ Eagle/ Elephant cookie jar/ Lighthouse/ Elf. This is just a small fraction of the thousands of moulds Bartlett collected from a craft supplier who was going out of business a few years ago. One might wonder how a serious artist like Bartlett is able to turn such banal, kitschy imagery into meaningful works of art.

Yet Bartlett has been using these hobby moulds as the primary building blocks in his work for the past three years, with surprising effects. "The moulds are like a curse," Bartlett jokes. Beer steins, forest creatures, holiday themes, and religious iconography are the visual vocabulary out of which Bartlett constructs his ceramic sculptures' visual poetry.

Bartlett's work reveals the mutability of images, their susceptibility to reinterpretation, their ubiquity and mystery. It also dares to embrace the most banal forms of the ceramic craft multiple in order to re-appropriate and transform them into unique artworks. The sculptures are so appealing, in part, because they appear to be simultaneously effortless and highly self-conscious. As he navigates the challenges of both medium and content, Barry Bartlett makes ceramic art about politics, while at the same time confronting the politics of ceramic art."

     Excerpts from an upcoming review by K E Gover, in Ceramics: Art and Perception

Winter gallery hours are Thursday through Monday, 11:00 till 5:00 p.m. For further information about the gallery, the artists and upcoming exhibition, visit

www.johndavisgallery.com

or contact John Davis directly at 518.828.5907 or via e-mail: art@johndavisgallery.com.

Sundram Tagore Gallery New York: Friday, March 4 Opening of Facing East: Asian Group Show

BARD PRESENTS EXHIBITION OF ROYAL PHOTOGRAPHS FROM THE NEPALESE COURT, MARCH 4 TO 18

BARD PRESENTS EXHIBITION OF ROYAL PHOTOGRAPHS FROM THE NEPALESE COURT, MARCH 4 TO 18

Reception for Visions of Patrimony: Photographs from the Court of Nepal (1908–1965) To Be Held on March 10

ANNANDALE-ON-HUDSON, N.Y.—The programs of anthropology, art history, Asian studies, history, photography, and religion at Bard College host the exhibition Visions of Patrimony: Photographs from the Court of Nepal (1908–1965) from March 4 to 18 in Woods Studio at Bard College. The show’s reception will be held on March 10 at 5:00 p.m. in Woods Studio. Laura Kunreuther, assistant professor of anthropology, will introduce the historical and cultural context of the photographs. Cristeena Chitrakar will speak briefly about how the photographs are currently used by her family today. Both the reception and the exhibition are free and open to the public.

Visions of Patrimony exhibits photographs from the collection of Dirgha Man Chitrakar (1877–1951) and his son Ganesh Man Chitrakar (1906–1985), who served as official court photographers for the Shah King of Nepal and the ruling family oligarchy of Rana Prime Ministers (r.1846–1951). The exhibition explores the dual patrimonies of two lineages of Nepalis brought together in these photographic images—the extravagantly visible ruling elite and their invisible photographers. Spanning from the early 20th century to 1965, shifts in the photographs over time correlate with the changing logic and interests of the Nepali state, as they move from portraits and political ritual to aerial photographs of the land and quaint portraits of Nepali farmers. During the Rana oligarchy, photography worked doubly to secure their rule: its very use symbolized their privileged status, and the images themselves were a means of visualizing their patrimony by documenting extended families, political and religious rituals, the consumption of foreign commodities (i.e. clothing, technology), and recreational activities (such as hunting).

The photographs displayed in Visions of Patrimony were printed in Nepal several years ago from the original glass negatives taken between 1900 and 1946 and acetate negatives taken between 1946 and 1975. These negatives make up the patrimony of the court photographers’ descendants, the Chitrakars. Chitrakar means “artist” or “painter” in Nepali. Prior to the advent of photography, Dirga Man produced paintings for the ruling elite, in accordance with his profession by birth. After learning the craft of photography, he was appointed to a permanent position as part of the “art department” of the ruling prime minister of the time, Chandra Shumsher Rana. Once the Rana oligarchy was overthrown in 1951, the photographers continued to work as visual documentarians for the state and institutions closely tied to the state. Ganesh Man, for example, took a job as official photographer during the early years of USAID, which worked closely with the government and has been one of the key financers for developing Nepal. His son, Kiran Man, now works as the director and chief cameraman for the state television, Nepal TV, the primary and most watched television channel, at least until 1990. We are fortunate to have these photographs to exhibit, thanks to Dirga Man’s great-granddaughter and Ganesh Man’s granddaughter, Cristeena Chitrakar, who is currently a student at Bard College.


PHOTO AVAILABLE FOR DOWNLOAD AT www.bard.edu/news/press

CAPTION INFO: Col. Chandra Jung Thapa, 1910

PHOTO CREDIT: Courtesy of Ganesh Photo Lab, Photographer: Dirgha Man Chitrakar 

 

Jose Barbera Retrospective Exhibition

FOR IMMEDIATE RELEASE : Jose Barbera Retrospective Exhibition

Please join us at Brilliance In Color on Friday, March 4th for our special First Friday Art Walk Exhibition.

Jose Barbera was one of the great Spanish landscape artists of the 21st century, born on October 1, 1945 in Valencia, Spain.

Barbera developed a love of art early in life and at the age of twelve he began his formal training. Barbera described himself

as a representational landscape painter. His favored subjects were the landscapes of Spain’s sunbathed beaches and ancient

mountain villages with their weathered white stucco and terra-cotta clay tile roofs and as an avid gardener he also loved to

paint beautiful rose bushes.

Barbera was without a doubt a painter with the ability to transmit the unique light of Spain into his works. When

an artist possesses such talent, technique and sensitivity, a truth emerges from his art in a manner that is natural and

simple...both fresh and spontaneous. Barbera’s unique paintings have captivated collectors the world over...from

Saudi royalty to Hollywood icons. Barbera has also been honored with several awards and many prominent exhibitions.

During the last three years of his life Barbera would travel through out Spain’s scenic countryside searching for new inspiration

in familiar places. He painted as much as he could, these were to be the last works Barbera would produce. The originals in this

special retrospective exhibition will be the last opportunity for many collectors to enjoy the unique paintings of Barbera.

Exhibition Dates: March 4th thru April 24th, 2010

Opening Event: March 4 – 5, 2010 (Fri. & Sat.)

Call the gallery for more event information: 904-810-0460

Tally Beck Contemporary Exhibits Chinese and Thai Works At SCOPE Art Fair NY

Tally Beck Contemporary


Be Takerng Pattanopas, N-O-W-H-E-R-E- No. 2, 2010 (Ink on paper, 2ft x 2ft 11 in.)

Tally Beck Contemporary Exhibits Chinese
and Thai Works At SCOPE Art Fair NY

NEW YORK February 25, 2011—Tally Beck Contemporary will participate in SCOPE New York and feature artwork by Chinese artists Anne Li, Chen Ping, island6 and Thai artists Be Takerng Pattanopas and Songwoot Kaewvisit.

Tally Beck Contemporary is a Bangkok-based art consultancy that opened its New York gallery’s doors in October 2010. It aims to bring the newest and best Asian contemporary art to the rest of the world while introducing international expression into the emerging art scenes of Southeast Asia.

The artists the gallery brings to Scope this year will range from new talent to firmly established names in the Asian contemporary scene. Anne Li is a Chinese photographer, trained in Paris, whose photographs embody a crisp refinement and reveal the artist’s unique insights into humanity and formal concerns. Chen Ping, also from China, but currently based in Tasmania, plays with the border between abstraction and representation in his highly textured, monumental oils. Island6 is an artists’ collective in Shanghai that collaborates on dynamic LED pieces that provide an electronically animated commentary on Orientalism.

Thai artist Be Takerng Pattanopas is noted for his intricate pen drawings that meticulously attempt to define three-dimensional space on paper.  From Thailand’s northeastern Isaan region, painterSongwoot Kaevwisit monumentalizes Thai traditional medicine with larger-than-life photorealism.

SCOPE will run from March 2-6, 2011 at 320 West Street (across from Pier 40 and between Houston and Spring Streets).  Tally Beck Contemporary will host a cocktail reception at their booth, C28, on Saturday, March 5, 4 pm.

If you would like complimentary tickets to SCOPE NY, please email Hanting Zhu, Gallery Manager athanting@tallybeckcontemporary.com.
 

FUTUREFARMERS ARTIST COLLECTIVE TO CREATE NEW WORK FOR GUGGENHEIM MUSEUM'S INTERVALS CONTEMPORARY SERIES

FUTUREFARMERS ARTIST COLLECTIVE TO CREATE NEW WORK FOR GUGGENHEIM MUSEUM'S INTERVALS CONTEMPORARY SERIES

Public Invited to Participate in an “Urban Thinkery” through Artist-Led Programs at the Museum and Across the City of New York

Exhibition: Intervals: Futurefarmers
Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
Location: Rotunda and off-site in several locations across the city of New York
Dates: May 4–14, 2011

(NEW YORK, NY - February 24, 2011) – From May 4 to May 14, 2011, the Solomon R. Guggenheim Museum will present Intervals: Futurefarmers, the fourth installment of its contemporary art series designed to reflect the spirit of today’s innovative practices. For its Intervals project, the San Francisco–based art collective Futurefarmers is creating a site-specific installation on the Rotunda floor of the museum and organizing intimate participatory programs for the public in various spaces around the city of New York.

The exhibition is organized by David van der Leer, Assistant Curator, Architecture and Urban Studies.

The Leadership Committees for the Intervals series and Intervals: Futurefarmers are gratefully acknowledged.

Futurefarmers creates projects that are diverse both in terms of their production and their strategies of audience engagement. If anything typifies a Futurefarmers project, it is a balance of critical and optimistic thought with the use of inventive and pragmatic design elements. Recent works include antiwar computer games; an online registry of unused arable land sites in San Francisco that could be used for gardening and food production; and lunchboxes that incorporate hydrogen-producing algae. For the Guggenheim’s Intervals series, Futurefarmers is creating a ten-day “urban thinkery” centered around a shoemaker’s atelier consisting of a cobbler’s bench and shoe racks and installed in the Guggenheim Museum’s Rotunda. The atelier is an open interpretation of Simon the Shoemaker’s fifth-century Athens studio in which Socrates supposedly had extensive philosophical discussions with Simon and local youth.

The Futurefarmers shoemaker atelier is the anchor for a series of off-site actions and events taking place throughout the city. Three Sole/Soul Sermons, commissioned by Futurefarmers and written and delivered by contemporary writers, will be offered in the atelier. The collective will also host intimate public Dialogues with contemporary thinkers and participants in special interior and exterior spaces around the city, as well as conduct a series of Ink Gathering walks with special guests and small groups of enthusiastic visitors. During these walks, the groups collect sidewalk dirt, the main ingredient in a unique Futurefarmers ink that will be used to transcribe the Sole/Soul Sermons and the Dialogues for posterity in participatory urban actions called the Pedestrian Press. Three times during the project, passersby on the streets will be called upon to form the Pedestrian Press and help print the texts, using 36 specialized printing shoes, on long strips of paper that will be rolled out along New York sidewalks.

In addition, the Sackler Center for Arts Education at the Guggenheim Museum, in collaboration with Futurefarmers, will offer exhibition-related programs for people of various ages, ranging from hands-on workshops entitled Making Our Own Rules (in which each participant is asked to create a system of measurement—a ruler—based on the length of his/her foot) to screenings of the film Examined Life (2008) by Astra Taylor. The full schedule of programming offered in conjunction with Intervals: Futurefarmers is listed below. All programs are free with museum admission or, if held outside held outside the museum, free. Further details will be posted on guggenheim.org/futurefarmers and will later be announced via Twitter feeds @Guggenheim and #Futurefarmers.

ArtGate Gallery/ upcoming Solo Exhibition for Korean artist Park Sung Tae

Jakarta International Stencil Art 2011 “DIVERGENCE”

GRAVITY FREE 2011

LEE KNIGHT PRESENTS GRAVITY FREE 2011 THE GREAT MULTIDISCIPLINARY DESIGN CONFERENCE WONDERS OF MAGICAL THINKERS MAY 24-26, 2011    SAN FRANCISCO
		Dear Design Friends: This is the first in a series of seven announcements leading up to the GRAVITY FREE Multidisciplinary Design Conference in May – a celebration of the best in multidisciplinary design excellence and innovation – starring amazing design wizards who are changing the way we see the world.  Prepare to levitate. Lee Knight, Gravity Free, Chief Instigator Lee@gravityfreedesign.com WWW.GRAVITYFREEDESIGN.COM

White Slab Palace

Venue:
White Slab Palace
77 Delancey Street
New York, NY 1000

Art folks, before getting wrapped up in glamorous art parties and the business of collecting during New York’s Armory Week, the pulse of emerging new media arts is happening right here on the gritty grounds of White Slab Palace. Opening the 2011 Armory Week is “Sonic Architextures”, an evening of performances remixing strands of analog and digital improvisations – a balance of post-punk impulses, subliminal electronics, vinyls and harp with arty experimental films, including Rey Parla's “Rumba Abstracta” and Peter Gregorio’s “Holographic Principal Generator”. Framing the night’s performances are Maximus Clarke’s Anaglyph 3-D spectacles dubbed FREEDOM FILTERS. Audiences are encouraged to participate and have their portraits taken on the green screen for future retrospection. Thomas Watkiss opens the night with hypnotic drones meticulously composed to set the ambiance. Using dense layers of symphonic chords, composer Zach Layton performs an improvised set with special guest. Renowned as the avant-garde ensemble – MERCE is the musical vision of Maria Chavez and Shelley Burgon – creating a sonic atmosphere Chavez’s turntables culls from her “pencils of sound” while Burgon’s harp melodies unifies the whole experience. Tonight, Merce collaborates with visual artist Rey Parla, whose rigorous and experimental multimedia work is a dance of stimulating visual music.

co-presented by ARTCARDS.CC

Website:
Opalnest.com/sonicarchitextures

Is True Grit True to Women?

Is True Grit True to Women?
Expert Reveals Historic Accuracy of Oscar™ Hopeful’s Representation of Women in the Old West

Nancy Williams loved the new film adaptation for True Grit, and even though the depiction of its defiantly strong teenage girl Mattie Ross wasn’t completely true to history, she felt it was true enough.

Williams, an expert on women’s issues in the Old West, said her only problem with the character of 14-year-old Ross, as played by Oscar hopeful Hailee Steinfeld, was that she did not represent the typical young woman of the Old West.

“At first glance I would say True Grit was not very true to history,” said Williams, also a veteran staffer of women’s crisis centers and author of Hawkmoon (www.nlwbooks.com). “Frontier women typically didn’t carry a gun, straddle a horse, or talk back with such brazenness. They either kept the house, cooked and tended the children, or they were school teachers or prostitutes. The stereotypes we see in the typical western novel or movie are not without basis in reality.”

The character of Mattie Ross did, however, match up with legends of some of the few women who stood out from the crowd as strong women who straddled their horses as they rode them against the grain.

“Despite the fact Mattie was not typical of the young girl of that era, there are enough women in the history of the Old West that broke the mold to make the story of True Grit believable,” Williams added. “Calamity Jane, Annie Oakley and a particularly feisty woman by the name of Sally Skull are a few that come to mind. These women, like Mattie Ross, were tough, capable, and sometimes deadly, rivaling any man in the ability to shoot, ride, play cards and talk trash.”

While not completely true to history, the character resonates with modern audiences because of the changing role of women in America, according to Williams.

“I think the modern woman is more able to identify with strong female characters like Mattie Ross,” she added. “No longer can we relate to the frontier wife who works at home and cooks, cleans and feeds the chickens. Showcasing women who can ride with the boys is another way that will keep westerns contemporary. Hollywood does it all the time: homosexual cowboys in Brokeback Mountain, repentant killers in Unforgiven and Mattie Ross, with her undeniable grit.”

About Nancy Williams

Nancy Williams is a graduate of Allegheny College in Meadville, PA. She worked as the grant writer for Women’s Services, Inc, a domestic/sexual violence center. Nancy grew up on a farm in Meadville. She is the winner of the Paul Gillette Award in the 2009 Pikes Peak Writers’ competition for her novel Grace. Hawkmoon is her first published novel and was a finalist for the Colorado Humanities 2010 Book

Animazing Gallery

Animazing Gallery, SoHo, will present a new collection of works by renowned artist, Tom Everhart. In 1989, he embarked on an artistic journey to create a body of paintings inspired by his close personal relationship with his friend and mentor, PEANUTS™ creator Charles Schulz. This sale and exhibition of 95 paintings, entitled Crashing the Party: The Arty-Fact Paintings, will be the biggest show in the history of Everhart's artistic career. Everhart will be the guest of honor at a champagne reception on the evening of Saturday, May 21st from 6-9PM. RSVP required to rsvp@animazing.com. The exhibition is free and open to the public from May 22nd-June 26th, 2011. The gallery is located at 54 Greene Street, on the SE corner of Broome & Greene. For more information call 212-226-7374.