DIALECTICAL PRAXIS Celia Johnson | Donald Martiny – Open now through April 29th

 DIALECTICAL PRAXIS
Celia Johnson | Donald Martiny
   
with works by Will Lustenader
Open now through April 29, 2017
Artist Talk is on Saturday, April 29, 2pm
    
FRED.GIAMPIETRO Gallery, 1064 Chapel Street, New Haven, CT 06510
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From left to right: Kathy & Fred Giampietro, Donald Martiny, and Celia Johnson
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Fred Giampietro gallery is pleased to present Dialectical Praxis, an exhibition featuring the work of Celia Johnson and Donald Martiny.  Although, Johnson and Martiny approach the process of creation with different points of view, interpretations, and methods, they both seek to establish the truth through reasoned arguments. Each artists share an affinity and uniqueness for the purity and simplicity of color and form.

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Donald Martiny has worked persistently on perfecting a unique technique of paint application so that he may, “discard the ground (canvas) and literally allow the brush strokes or gestures themselves to be the painting”.  Martiny is very conscious about being present in his work. He sees color as pure energy and feeling, allowing freedom to paint a gesture without any restraints creating a fresh and personal relationship with the viewer.
Donald Martiny studied at the School of the Visual Arts, The Art Students League in New York, New York University and the Pennsylvania Academy of Fine Arts. Museum exhibitions include the FWMoA, Courtauld Institute of Art, Alden B Dow Museum of Art, Falmouth Museum, and the Cameron Art Museum. In 2015 Martiny received a commission from the Durst Organization to create two monumental paintings that are permanently installed in the lobby of One World Trade Center in New York City. In 2015 Martiny received the Sam & Adele Golden Foundation for the Arts Residency Grant and his work has been featured in the Huffington Post, NPR, Philadelphia Inquirer, VOGUE LIVING |  Australia, New American Paintings | South and Woven Tale Press. Martiny’s work is represented by galleries in Europe, the US and Australia and is collected internationally.
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Celia Johnson is known for her sensitivity to surfaces, color theory and a unique interpretation of geometric abstraction. In her work, she carefully burnishes away marks challenging the viewer to further explore and question her technique.  In a recent statement, Johnson notes that she “enjoys persuading liquid paints, inks and hot glowing wax into counter intuitively distinct, bound, or embedded fields of pure saturated color.” Johnson enjoys structuring the figure/ground relationships and the push and pull of compositional elements in space.
Celia received her BFA in design and printmaking at California College of the Arts. She has worked professionally in the design field in San Francisco, New York and Germany for clients including Levis Strauss, ESPRIT, The New York Times and Condé Nast. While in Germany, she studied painting as a visiting student at the Kunstakademie Düsseldorf under Prof. Christian Megert during a decade-long stay there. Returning to New York City, Celia pursued her concentration in painting while continuing to work professionally as an internationally recognized and award-winning designer/illustrator. Additionally she served as adjunct faculty at the Maryland Institute College of Art, and holds an MPS graduate degree in new media design from NYU’s Tisch School of the Arts ITP program.
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Will Lustenader’s new body of work addresses spatial issues as well as the exploration of color and textural relationships. Lustenader’s masterful painterly technique draws a distant dialogue with renaissance through 19th-century painting as well as tipping his hat to the modern masters. Will Lustenader lives and works in New Haven, CT. Lustenader received his MA from the Courtauld Institute of Art at the University of London and his BA from Vassar College in Poughkeepsie, NY. His work has been included in numerous exhibits, including the San Diego Art Institute (2009), the Neuberger Museum (2008), and The New Britain Museum of American Art. His work can be found in many private and public collections.

Exhibition Opening April 1st: DIALECTICAL PRAXIS Celia Johnson | Donald Martiny

FRED.GIAMPIETRO Gallery, 1064 Chapel Street, New Haven, CT
April 1, 2017 – April 29, 2017

Artist Reception is on Saturday, April 1st, 6-8pm

Artist Talk is on Saturday, April 29th, 2pm

Celia Johnson has stated about her process; “I began to find my way only when I realized that the subject of my work can in fact be the work in progress itself: its evolving shapes, forms and colors accumulating to articulate a document of myself at a given moment in time.”

Her encaustic on wood pieces are born of curiosity and an engaging of an apolitically motivated aesthetic exploration of the space that they inhabit. Each of Johnson’s pieces is a record of the experience in making, a self reflection and captured moment represented in opaque fields of color edging, butting, overlapping and interacting within the finite space of the wood panel. Celia Johnson studied at the California College of the Arts and ITP, Tisch School of the Arts, New York University. She has exhibited her work internationally and lives and works in Chapel Hill, North Carolina

 

Donald Martiny is an Artist who’s work is designed with immediacy in mind. Martiny dismissed the conventional rectangular painting format in favor of unique, piece specific sculptural form. The goal of this system is to directly engage the viewer, to remove the window usually used as an entry to visually consumed Art in favor of work that approaches the onlooker. Through a process of trial and error Martiny has developed a unique pigment rich polymer with which he constructs his paintings, physically entering them during their formation, relating large bold form of brushstroke and the limits of his reach and constraints of his movement. In an interview with The Woven Tale Press in 2016, Martiny expressed “…let me make clear that these works are actual brushstrokes. Many people mistake them for sculptures or molds. They are not forms that have been painted, they are pure paint through and through that I make with large brushes or directly with my hands. Brushstrokes are human, personal, and intimate.” Donald Martiny has exhibited his work with the FWMoA, Courtauld Institute of Art, Alden B Dow Museum of Art, Falmouth Museum, and the Cameron Art Museum. Martiny’s work is also permanently installed in the lobby of One World Trade Center in New York City. He lives and works in Chapel Hill, North Carolina.

Cultivating Collectors: Panal Discussion Featuring Fernando Luis Alvarez, Isabella Garrucho, Fred Giampietro, and Amy Simon.

Mark your calendars for Thursday, March 30th, 6-8pm! The Cultural Alliance of Fairfield County and Silvermine Arts Center announce a series of conversations and events around the theme of Cultivating Collectors. Fred Giampietro, Fernando Luis Alvarez, Isabella Garrucho, and Amy Simon make up the panel for the “State of the Union” discussion, a review of the state of the business of art collecting and art sales locally and nationally. The panel will be moderated by Martha Willette Lewis. For more information please follow this link: Cultivating Collectors

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Sweet Spot Series: Thank You and Heads Up!

Thank you to everyone who attended the second installment of the FRED.GIAMPIETRO Gallery’s Sweet Spot Series on March 11th, which featured a breathtaking improvised musical performance with Taylor Ho Bynum and Carl Testa and engaging Artist talk with Zachary Keeting and Daniel John Gadd. If you missed out on attending this past installment, keep your schedule open for our third installment on June 3rd at 2pm featuring acclaimed musician Libby Van Cleve as well as an Artist talk with Chris Barnard and Michael Angelis. For more information on the upcoming Sweet Spot Series event, please visit our Future Exhibition page at Future Exhibitions at FRED.GIAMPIETRO Gallery.

Only Two Weeks Left to Catch Keeting and Gadd

FRED.GIAMPIETRO Gallery’s current exhibition; what a simple thing it seemed, that vast yellow light sailing slowly: Zachary Keeting and Daniel John Gadd

February 25, 2017 – March 25, 2017 

Zackary Keeting is a documenter and painter, whose work is an amalgam of loose gestural technique layered with refined tight lines, cracked and dissolving fields against deconstructed natural and invented forms and pattern. His human scale works on canvas and paper challenge interpretation with their battling assertions of both spontaneous and intentional structures in cohabitation. Keeting’s pieces can be both examples of the technical limits of his chosen medium and also symbolic representations of the recognizable and relatable, offering a viewer entry points marked with overt resistance.  

Daniel John Gadd is a Brooklyn based Artist who works with a plethora of materials and tools, both traditional and unexpected to create large scale mixed media constructions. His wall sculptures are representational of nature and personal experience, offering access by means of media and execution choices such as shattered mirrors and atypical non-symmetrical form paired with illustrative titles. Gadd’s work embraces an intentionally skewed geometry challenging notions of perfection while relating organic and human qualities.  

“The “Y” in lyfe,” an article discussing our current exhibition, written by Julia Leatham for the Yale Daily News

The “Y” in lyfe

JULIA LEATHAM  FEB 10, 2017

CONTRIBUTING REPORTER

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Walking into “The Joi of Lyfe” exhibit is much like stepping into the mindcastle of a kindergartener — the images he would draw could cleanly convey his beaming impressions of the world. Or, should I say, the images *they* would draw, for the underlying theme of the work of Caroline Wells Chandler, the exhibit’s featured artist, is separation from socially constructed definitions such as gender and “queerness as the normative state.” But, if that is too nebulous an explanation, in the artist’s own words, this collection explores “the triumphant return of Ongo: the voyager of this tale. Ongo is a halfling born of a trumpa lumpa and a rose queen. In this chapter he has returned to the village of the Ivory Fortress accompanied with friends, helpers, guides and most importantly S.C.O.T.T.’s to spread good, good, good, good vibrations.” 

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I think that story snippet accurately describes his display. Walking in, I felt inclined to think in spurts, or exclamations, or any communication which skips the filter of socially constructed mandatory mental processing. Chandler’s collection is comprised of large crocheted smiling people-blobs engaging energetically with each other. Each shape is distinctly human, but the vibrant colors and basic shapes — like a child drawing the parts they know compose the human form rather than drawing what they see directly from reality — make it so the gender, ethnicity, age or really any specific quality is impossible to identify. This does not mean the people look all the same. It’s the emotion in each person-blob, inspired by people from Chandler’s life, which differentiates them and allows them to carry unique charm. Chandler highlights their individuality by naming each personality.

“Chris” smiles on one wall, his lower eyelids raised halfway as if fighting back a well of excited tears; he runs in socks along the path of his gaze which is locked with the eyes of “Tamara” who is landing from flight, cape fluttering, feet socked and with her upper eyelids drooped in an expression of drunken, blind love for “Chris.” The adjoining walls display a spectrum of love varying from the playfulness of the many jumping “B.E.R.T.’s” to the purposeful comradery which accompanies “Jennifer,” “Travis” and “Rachel’s” drum circle.

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I was struck then, by the more somber tone of Larry Lewis’s collages in the second half of the room. His art featured similar pop colors to Chandler’s work, but both the texture and tone present in his pieces felt more staring and accusatory. While Chandler’s people-blobs leaping from the walls with their soft, bumpy, yarny surfaces felt freed from social expectation, Lewis’s pieced-together forms, crinkled from drying glue, felt bound by it. Made of advertisements, labels and other bits of consumer culture literally plastered into place, the people in his art are built by the propaganda of their surroundings.

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In one larger piece, a simply depicted woman dons a neon heart over her chest, it reads: “Hearts of the World.” Near the hem of her long solid red dress is a clipping in matching neon and large clear font advertising the “Roche Electric Hygiene Machine” which promises to miraculously heal you from a wide assortment of diseases, ranging from prostate gland trouble to varicose veins, traipsing far and wide across any need someone might have, mocking the consumerism that expanded throughout the course of Lewis’s life in the late 20th century and which persists in modern day America. It seems to address the pains of life and the human draw to a cure-all, providing well-being and persistent happiness, while casting doubt through the blank stares of his figures on whether consumption is the proper means to an end.

Paired together, these collections as one exhibit showcase the unity of what it means to be human, the timeworn question of how nature and nurture play together. Chandler’s work reminds the viewer of each person’s individuality and potential for love, and Lewis’s brings you to pause and consider how and why that individual has been morphed, broken and reassembled as they move forward through life. It is a two-part exhibit which, if you will, explores the “i” in joi and the “why” in lyfe.

The Joi of Lyfe – Caroline Wells Chandler & Larry Lewis with works by Loren Britton

Sorry for the delay! Here are some images from the opening reception of, “The Joi of Lyfe” featuring the work of Caroline Wells Chandler and Larry Lewis. In the project space, are works by Loren Britton. This exhibition is guaranteed to brighten your day at FRED.GIAMPIETRO Gallery,1064 Chapel Street in New Haven, now through February 18th.

Celebrate Diversity – FRED.GIAMPIETRO Gallery’s Annual Holiday Exhibition

Celebrate Diversity

FRED.GIAMPIETRO Gallery’s Annual Holiday Exhibition

November 25 – December 23, 2016

Opening Reception is Thursday, December 1st, 6-8pm    

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Find your special someone a gift that will be forever treasured! We will be offering an incredible selection of works priced for the holiday gift giving season.      

Featured Artists:

Michael Angelis • Chris Barnard • John Benicewicz • Power Boothe • Bernard Chaet • Emilia Dubicki • Cham Hendon • Danny Huff • Blinn Jacobs • Celia Johnson • Clint Jukkala • Zachary Keeting • Elisa Lendvay • Becca Lowry • Will Lustenader • Richard Lytle • Jane Miller • Loren Myhre • Jeremiah Palececk • Jana Paleckova • Steven Powers • Peter Ramon • Enrico Riley • Jonathan Waters • Becky Yazdan  

Guests:  

Aspasia Anos • Jeremy Chandler • William Georgenes • Bob Gregson • Meg Hitchcock • Barbara Coyle Holt • Sol LeWitt • Adam Lovitz • Tizzie Mills • Gerald Saladyga • Kurt Steger • Robert Taplin • Amy Vensel • Don Voisine • Joan Zagrobelny 

and a selection of small gifts and folk art

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Boothe and Lendvay – Exhibition closes this Saturday, Nov. 19th

Tomorrow, Novemebr 19th, is your last chance to view new paintings by Power Boothe and sculptures by Elisa Lendvay. Read a wonderful review of the exhibition below by Tiana Wang for the Yale Daily News.

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Between lovely lines

GUEST COLUMNIST

To take notes on graph paper is to resist the temptation to doodle. But Power Boothe has succumbed; he succumbed nearly 40 years ago. Since 1971, Boothe has been exploring the interplay between structure and chaos in his grid-based abstract paintings.

The concept of grid-based abstract paintings seems, at first, to be inherently contradictory. Abstract art brings to mind paint splatters, solid colors and unconstrained emotion. Grids are regular in their consistency, a neat framework meant to control and guard against disorder. In his paintings, Boothe does not focus on the opposition between the two so much as how each works with the other. The dichotomies seem irreconcilable in theory, but there is little tension on the canvas — colors and lines merge organically above pencil-sketched squares.

The first two pieces of the exhibit, “Transient” and “Long Tale,” introduce the techniques and motifs that emerge over and over again in Boothe’s pieces. From far away they look like clean lines and solid colors, but up close they become impressions without certainty. The lines smudge and bleed into bright areas of color, creating ombre effects that suggest melting boundaries. White space is concentrated in the middle of the composition, but concentrated is a strong word — the patches of white loosely form a meandering path not unlike the mazes in elementary school workbooks.

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Boothe’s work is not just playful in its maze-like layouts, but also in the shape of the lines and color choices. Most pieces — “Recursion,” “Findings,” “Ellipses #12,” for example — combine muted, soothing shades of pastel with the boldness of intense primary colors. In paint, Boothe traces straight lines that follow the grid before unexpectedly swaying into s-curves and rounded corners. Sometimes they hesitate and continue into dots and dashes. The lines also run into geometrically-inspired areas of colors. When intentional smears make a line occupy a space beyond its usual narrow stretch, is it still a line?

Each abstract painting is like a game of connect the dots, played with different rules. Sometimes the dots are connected, and other times not, as in “Heraclitean Fire,” where the randomness of lines speaks to the illogical nature of passion and anger. “Quiet Fury #5” sends a similar message, but the anger is simultaneously suppressed by the calming cobalt background, into which lines seem to sink. Blue takes on a different meaning in “Fracture,” however, serving to enhance a sense of disruption and removal. Even as the change in hues constructs the disconnectedness between parts, the color blue ironically unites the piece. “Surfacing” is also blue and white, but the story it tells is one of fabrication in progress, not deconstruction. Captured mid-action, the lines will not fully surface, and the question of whether they will assemble into a larger, more complete picture remains unanswered.

Boothe’s art often defies the clear-cut, tending towards being intentionally messy, overlapping and blending together. “Beginnings” is a creative take on cave paintings, rich with graceful transitions in multicolored lines that stand out on a beige, cave-like background. In “Entangle,” different designs rest on top of one another, making harmonious patterns from pieces that shouldn’t fit together. The little islands of vibrant color that stand out in a sea of white seem to be at the brink of change, and the piece itself appears to be unsure, deciding between whether to reflect the process of destruction or discovery.

Interspersed throughout the gallery, sculptures by Elisa Lendvay echo and expand on themes of discovery and reveal. A pun on the word “archangel,” “Archangle” places common household items in an unconventional setting. Metal lids, crushed aluminum cans and pie tins are strung together like a strange skewer splashed with color. Lendvay incorporates materials unassociated in daily life into one structure and makes it seem natural, the artifact of an alternative world. Through this curious collaboration, Lendvay juxtaposes barrenness and exposure with cover — “Nest,” “Curve/Rednet” — and practical use with elaborate and fanciful design — “Deadwood,” “Ruffle.”

Abstract art gets a bad rep. It’s “artsy” without substance, some people say, or perhaps muddled with too much substance to have a concrete focus. Too confusing, too foreign. But when I walked into the Fred Giampietro Gallery and first saw the works of Power Boothe and Elisa Lendvay, I felt like I had returned to my childhood home. Once again I was sitting at my desk with crayons, piles of maze worksheets and board games in front of me and pie tins laid out on the kitchen countertop, ready to be repurposed. Once again, there was space to color outside the lines.

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