Upcoming Exhibition – Power Boothe with works by Elisa Lendvay – October 22 – November 19

Power Boothe
with works by Elisa Lendvay

October 22 – November 19

Artist Talk
Thursday, October 27th, 5-8pm

Performance by Robert Black on Saturday, November 5th, 11am


Fred Giampietro Gallery is pleased to present Power Boothe: Recent Work, the first one-person exhibition of paintings and works on paper at the gallery.

Power Boothe has been making large abstract paintings, based on a grid since he first exhibited work in 1971, when his paintings and drawings were included in a show of ten young artists at the Guggenheim Museum. He has had 18 one-person exhibitions in New York City, where he lived and worked for thirty years. In 2001 he moved to Connecticut where he works in his Harwinton, CT studio.

Boothe regards, “painting as a form of thought.” He says, “I cannot remember a time when I was not drawing or making paintings. When he was four or five years old he acknowledges that he would draw, to the chagrin of his parents, on any surface he could find, including walls and furniture. He can’t remember a time that he was not making marks. “Today, my work continues to evolve and develop and surprise me; I am compelled to follow where it needs to go.” Boothe says, “making drawings and paintings seems as necessary to me as drinking water.”


“My paintings employ the grid but they are not about the grid, the grid is structure that I can work with and against. My work is my way of thinking about life as a tightrope I walk between two great forces; chaos and order. To pursue either alone; to impose order and not acknowledge chaos, as either a silent emptiness or energized disorder,” he says, “would seem to deny life’s fragility and its complications.” Boothe says, “From painting to painting, I simply want to find that balance between what it means for things to come together, while at the same time, they are coming apart.”


Locally, his work is represented in in the collections of the Wadsworth Atheneum Museum of Art, the New Britain Museum of American Art, as well as the Florence Griswold Museum. In a review of his 2014 exhibition at Five Points Gallery in Torrington, the art critic Tracy O’Shaughnessy wrote:

“It is as if Boothe is saying that even in the most paradisiacal vistas, we insist on an order, even if the order falls apart. Perhaps this marriage of intuition and order is a reminder that the visceral and the analytic are forever at loggerheads, the resolution of which can be beautiful to watch.”

Click here to watch a wonderful exhibition discussion with Power Boothe


“Lendvay’s hand melds into her creations, blurring the line between the synthetic and the pre-existing, fabricating objects that tread the boundary between our memory and hers. The artist’s psychological excavation and manipulation of the phantasmagoric creates a skewed archeological repository that forges a nexus between history, memory, and matter, projecting a latent spectacle of our collective unconscious and distorted archetypes.” Holly Jarret, 2014


Elisa Lendvay received her MFA from the Milton Avery Graduate School of the Arts, Bard College and her BFA from the University of Texas at Austin. Her work has been exhibited in a number of solo and group exhibitions throughout the United States and Europe. Lendvay has been awarded many prestigious honors from the Edward F. Albee Foundation, the New York Foundation of the Arts, the Santa Fe Art Institute, the Lower Manhattan Cultural Center, the Milton Avery Graduate School of the Arts, the Vermont Studio School, the Dallas Museum of Art, The University of Texas at Austin, and the Marie Walsh Art Foundation. Currently, she is an Adjunct Professor at Montclair State University.

Click here to view Gorky’s Granddaughter interview with Elisa



John Benicewicz – In the Studio

Paintings by John Benicewicz and Sculptures by Robert Taplin on view now through October 15th at FRED.GIAMPIETRO Gallery

John Benicewicz


“Benicewicz’s paintings are often cerebral, the brushstrokes dabbed across the canvases intuitively, sweeping in large swathes of unbounded color. In “The Brightest Door That Ever Opened,” Benicewicz presents a triptych of memory drawn from his unconscious. Its center panel contains ghostly figures rendered in a delicate, buttery white. This ephemerality contrasts with the sienna background’s overwhelming solidity and permanence. Similarly, the painting “Return” features bright spaces of almost pure color that recall the vibrancy of Matisse’s cutouts. Nude beige figures stroll and lounge, their earthy forms juxtaposed with the everlasting blue and deep red that surround them. Benicewicz is a master of summoning the human figure without so much as explicitly depicting an individual face.”

Joshua Baize
Yale Daily News
click here to read the full article 

In the Studio


“My studio is a private, almost sacred, space for me. After being asked to write about it, the features that I kept noticing were the examples of creation and decay that are throughout it. I find that I’m most comfortable when those two forces are in balance or when I feel that creation has a bit of the upper hand.

I like to keep it the way it is so I rarely have visitors and changes to the environment happen very slowly. On the creation side there are of course the paintings (especially the one that’s currently in the making) and the materials at use. Paintings are started, worked, and finished, then eventually on to the next. The surroundings stay pretty much the same though, and there are areas where unused, abandoned (perhaps only for now) bits of stuff accumulate. Time seems to stay still, but then I notice the decay: dust, dirt, and cracked and bubbled plaster from a leaky roof. Creation moves against time.”

John Benicewicz, 2016


Benicewicz mixes all of his own oil paints in addition to preparing the canvases using only traditional methods. John notes that his work is not about process, but the process of creating a painting—from beginning to end. “I’m not entirely sure of the reasons for this–they’re more emotional than rational—but I find it necessary to be as close as possible to the work through the materials.”


John Benicewicz is a New York based painter, who studied at Parsons School of Design in New York and the School of the Museum of Fine Arts in Boston.  His work demonstrates an incredible understanding and sensitivity to color, composition, and classic techniques. Benicewicz’s paintings focus on the “real, the perceived, the past, present, and future . . . mapping various times and places . . .” The work, like that of Robert Taplin, places the figure contextually in both the past and present simultaneously with reference to the narrative as well as classic execution.

Gorky’s Granddaughter interview with John

Robert Taplin “History of Punch”

The sculptures of Robert Taplin and Paintings by John Benicewicz on view now at FRED.GIAMPIETRO Gallery through October 15th

Robert Taplin
“History of Punch”

“History of Punch,” was started before the Dante project and continued after it. My interest in puppetry also dates back to my years at Pomona College. I was involved in the theater program there primarily as a stage designer, studying with David Flaten. The director of the theater program was a Brecht specialist, Andrew Doe. The whole Brechtian ethos, particularly its non-naturalistic way of telling a story, was a formative influence on me. The “alienation effect,” which Brecht used purposefully to break up the theatrical illusion and the audience’s identification with the characters on stage before setting it all back in motion, seemed to me important then and still does. In 1973 the theater program organized a trip to Los Angeles to see a production of the National Bunraku Theater of Japan. At Pomona we staged several full-scale kabuki shows under the direction of Leonard Pronko, and the bunraku theater, in which two or three black-clad puppeteers operate half-scale puppets directly on stage in imitation of kabuki actors, made a tremendous impression on me. Punch, the deformed little puppet of Punch and Judy fame, found his way into several small sculptures I made in the late ’80s and early ’90s. Then sometime in the late ’90s I saw an exhibition of Tiepolo’s Divertimento per li Regazzi (Entertainment for Children) at the Metropolitan Museum of Art. Derived from the earlier Commedia Dell’Arte tradition on the continent, this set of 100 or so pen-and-wash drawings from the turn of the nineteenth century use a Venetian carnival version of Punchinello in multiple to overrun a mildly surreal, late Baroque, Italian genre world. These drawings are roughly contemporaneous with Goya’s “Caprichos,” and they seemed to offer a way to dive fully into the world of genre. I adopted Punch and threw him into contemporary society.


In my early years as an aspiring modernist, I always assumed that Rococo was the most despicable and superficial period of European art. At some point, as the modernist period was in its death throes, I started to take a closer look. I remember sometime in the ’90s looking at a portrait of a milkmaid by Boucher and being struck by how much more contemporary it seemed in tone and handling than the Bernini maquettes exhibited in the same room. In evidence were all the objectionable aspects of the Ancien Regime: the elite’s spurious infatuation with the “people,” the obvious undertone of sexual availability, the address to the “male gaze,” etc. And yet there was also a frankness to it, an openness that seemed contemporary and attractive. It gradually dawned on me that the late Baroque was an era of private extravagance and public spectacle, with power concentrated in the hands of tiny elites, playing out against a backdrop of ongoing religious conflict and spectacular achievements in the sciences and arts. The scenes of carefree dalliance, with everyone blissfully oblivious to the coming deluge! Those fabulous drawings by Watteau! It all felt so familiar.


So Punch is a figure of aggravated ambivalence. His comic vulgarity, lack of inhibitions, and his apparent absolution from the normal requirements of society make him a figure of abuse and fascination. He is both a pariah and a free spirit, an alien among us who demonstrates the power of shame and guilt by ignoring them completely. As I worked on this series, I became aware of how far and deep Punch-like figures go back in European society. The court jester, the fool, the Jack in the Box, and all the witches of European lore have the same stereotypically Semitic features. Deep-seated fear and envy of the Jew are bedrock tropes in European society, comparable in function to the cultural load projected onto African Americans in the contemporary U.S. The majority culture is convinced that these supposed outliers have some great secret power or talent unavailable to the mainstream, a creative genius that allows them to dominate certain areas of the cultural sphere, inspiring both fascination and superstitious dread. If, according to this thinking, Jews and blacks are mysteriously generative and resourceful, they are also seen as capable of inexplicable treachery and random acts of violence. All this is likewise true of Punch. Lewis Hyde, in his book Trickster Makes the World (1999), extensively investigates the ancient mythos of this phenomenon. Punch’s ancestry probably goes all the away back to the comic satyr of classical theater. So Punch is in the tradition of the grotesque – the hunchbacked, over-sexed alien, a conglomeration of things that frighten and appall us. Yet he also clearly wields considerable power, the power of the despised, the unknown, the exotic, the outsider. We would like to ignore him or just get rid of him, but we recognize him. We don’t trust him, but, under the right circumstances, we might even follow him. We watch him with a queasy fascination and lingering self-reproach.

In the last piece of the Punch Series, Punch Pops the Weasel (2013), Punch rises up heedlessly, ecstatically, in a tutu, bursting out of the box like some floozy from a birthday cake at an over-the-top party. But it’s also Punch in ascension, the apotheosis of Punch, Punch in a very short moment of self exposed glory. When he comes down, he’s likely to get hurt, but for the moment he doesn’t care. Punch is all in, totally committed in a way most of us can’t manage.
Good luck to him.

Robert Taplin
December 19, 2015
New Haven, Connecticut


Intern’s Edition: Becky Yazdan

Intern’s Edition: Becky Yazdan

by Evelyn Jimenez, 2016

Recent Work: Becky Yazdan, Emilia Dubicki, and Aspasia Anos
on view now at FRED.GIAMPIETRO Gallery through August 5, 2016

Image from Becky Yazdan’s interview with Nathan Pendlebury

I’m still relatively new to all this college bizz’.  Like most undergrads whose higher education just began, I am struggling to make sense of my studies and eventually turn them into a fruitful career path. However, interning with the Fred Giampietro Gallery this summer  has definitely cleared up the potentiality of my profession. The exposure to a multitude of exceptional artists, styles, and mediums has begun to refine my own artistry and consciousness while creating art.

Out of the several artists that are currently featured in the exhibition, I’ve been especially drawn to the work and process of Becky Yazdan.  In my research of the artist, Yazdan largely speaks on how her pieces are informed by dreams, childhood, and general memories.  Her paintings are primarily done with oil on linen or panel, varying heavily in layering, organic shape, and texture.

From Left to Right: “Rope Tow” and “Mother”

When experiencing the works in person, this is definitely apparent. Whether through palette knife grazing, or scratching it all off and beginning anew altogether, viewers are able to see the history of each painting through these built surfaces. It’s in these subtle lines, bold color blockings, and light washes of paint, the viewers are sucked into a truly mystical and ethereal world.

BY_2015_RopeTow_OLP_20x20x1.5_D2_YA000050Detail of “Rope Tow”
BY_2015_Mother_OLP_20x20x1.5_D2_YA000048Detail of “Mother”

You can try to make sense of what’s going on in the artist’s head, perhaps by reading titles and making correlations, but Yazdan encourages her viewers to create their own retrospective and recollections as well.

Yazdan’s ability to narrate and encapsulate a moment into her paintings will certainly continue to pull in audiences of all tastes, and urge them to come to their individual and unique disclosures.

From Left to Right: Becky Yazdan, Emilia Dubicki, Aspasia Anos

A brief side note unrelated to aesthetics: I highly appreciate that this exhibition showcases the talents of predominantly women because my studies, and general life passions, are centric to the empowerment of women.

It is rare that as avid gallery explorers think twice on whether or not there are enough women in a show, and can sometimes subconsciously accept men as the primary source of our exposure to art. Representation of women’s artwork (even in smaller galleries like Giampietro’s) can be extremely influential to the way we as a community, and even as a society at large, can begin to change the way we think about the image of the successful artist. 

Click here to learn more about Becky Yazdan 

Visit Becky’s website to view more


Emilia Dubicki – In the Studio

Our current exhibition titled, “Recent Work” features the paintings of Emilia Dubicki, Becky Yazdan, and mixed media on photographs by Aspasia Anos. In the project space, we are exhibiting work by Ewelina Bochenska and Danny Huff. This exhibition is open now through August 5th.

In the Studio with Emilia Dubicki


“I am always tying up and then deciding to depart.”

Frank O’Hara, To the Harbormaster

Local artist Emilia Dubicki recently wrote, that her paintings “are a negotiation between external and internal landscapes and visions.”  Her palette largely consists of rich saturated blues, warm and cool blacks and whites, greys, and an occasional splash of brilliant cadmium red. With large gestural motions, drips, and a stark contrast of light and dark, Emilia captures and embraces the raw emotional moments in which “one vision blurs, retreats, drips and gives way to another” as her “memories rewind and fast forward.”


ED: For me painting is about asking questions, questions that can’t always be put into words and may not have immediate answers. Ultimately, the art has to be about seeking the truth. From white spaces something emerges – another question, another painting. In the paintings there is calm and space to ruminate and other times more movement and energy. Each painting is a stop toward a greater destination and a negotiation between external and internal landscapes and visions. Sometimes the memory isn’t so clear as to what was or wasn’t there, what did or didn’t happen.


ED: In this current body of work, the paintings reference one another. I’m addressing what it is to be of a place that is real and imagined, a place whose weight is on the soul’s shoulders and can’t be shrugged off. The feeling is more gift than burden. The journey continues and leaving is returning.


Emilia’s work has been exhibited both nationally as well as internationally. Her work was recently featured in Art New England Magazine and at New York City’s Holiday House. She has been awarded residencies from the I-Park Foundation, The Vermont Studio Center, and the Wurlitzer Foundation.


Opening Reception – Dubicki, Yazdan, Anos

Check out these great images from the opening reception of, “Recent Work” featuring the work of artists Emilia DubickiAspasia AnosBecky Yazdan, Ewelina Bochenska, and Danny Huff. The exhibition is open now through August 5th. Our summer hours are M-Sa 11am-5pm. We are located across the street from the Yale Center for British Art and the Yale University Art Gallery.

Loren Myhre – In the Studio Interview


Interview with artist Loren Myhre


Kimberly Myhre: What is your working process?

Loren Myhre: It’s funny; I don’t think I really have a working process. Art and life is not based around a governed routine at this stage in my life. I make art when I am afforded the time and work around a chopped up time schedule. Usually, I get to paint at home in one hour to two-hour bursts. Those few hours are really focused and intense moments for me. Working on sculptures in the studio is often relegated for late nights when everything is quiet and life seems to cease. I have found a kind of fairness in juggling everything.


KM: What are the differences between working on a painting and working on a sculpture for you?

LM: The element of time is the greatest difference between the act of painting and the act of sculpture. Painting for me is a lot more immediate and instantaneously gratifying. I can create something out of paint and instantly change my mind and destroy it and rebuild it again in a matter of minutes. Working in three dimensions and largely with industrial material you do not have that luxury. The sculptures evolve through more calculated steps. The creation and destruction of a piece of art has been on my mind lately. I believe destruction is part of the creative act. It may be more recognized in painting than in sculpture but it exists equally in my work.



KM: Who are some of the artists that have influenced you?

LM: The artists that have had the greatest impact on me have been those that I have had the privilege of sharing a relationship with. I worked closely with the sculptor Tom Butter in graduate school. He greatly molded my mind around how to think about sculpture. He showed me what sculpture could be and how it should function with time and space. Tom guided my thoughts about the use of materials to evoke a feeling, relay a mood or shape a state of being. I was also transitioning from being largely a painter to the sculpture end of doing things. Tom was influential in getting my ideas off the wall and to have sculpture inhabit a room and fill a space with its presence. I have always maintained my affinity for painting and another great mind I worked with in school was the painter Louise Fishman. If you ever need your faith restored in the power and necessity of painting, Louise is the one to talk to. Even though I was gravitating towards sculpture, Louise was keeping my one foot in painting. While a lot of people were making things that paraded as painting with stuff other than paint, Louise was pointing to what could still be done with a loaded brush and that was still exciting to me. Tom has become a dear friend and I still keep in touch with Louise as well.

KM: What works of art do you find yourself revisiting as sources for inspiration?

LM: I have been continually drawn to a photograph by Masahisa Fukase. It is titled “Dream Island, Tokyo” (from the series Solitude of Ravens). The photo is filled with mystery and is expressionistic in its scope. It is simultaneously beautiful and saturated with tragedy. Whenever I visit the Met I enjoy revisiting the painting “Woman with a Parrot” by Gustave Courbet. It’s light color and composition is mesmerizing. What is most fascinating to me about the work is what is faked and imagined. The bird in flight upon the woman’s finger, the heavy floral drape imparting a densely vegetative landscape – all of that stuff is made up out of his head. The pale luminous woman feels transplanted into this tent like paradise.

Click here to view Gustave Courbet’s painting, “Woman with a Parrot”

fukase            Masahisa Fukase, “Dream Island, Tokyo (from the series Solitude of Ravens), 1980, gelatin silver print, 29 x 43cm

More on the Artist:

Born in Estherville Iowa and raised in Florida, Myhre’s work reflects the rural landscape of his youth. He was a champion of the youth organization 4H raising sheep and cattle from a young age. This instilled in him an industrious work ethic and enthusiasm for all things found in nature. Though he juggles the role of husband, father and provider he manages to maintain a prolific art practice.

In Florida, during his undergraduate studies, his work was purely abstract pastoral landscapes. The transition to New York City for graduate school presented a new environment and he felt compelled to reinvent his working process. This wasn’t a gentle transition however, and what at first was sheer anxiety gave way to a rhythm of brave experimentation. His peers and instructors were an invaluable community to him during this time. Confined by the constraints of city life, in a walkup railroad apartment with a graduate student’s budget, he quickly grew fond of fabricating small sculptural pieces comprised of found materials. These early experiments laid the foundation for his process of balancing fabricated and found objects.

For the past 8 years Myhre has been living and making his art in Florida. He has served as an adjunct professor teaching courses in sculpture and metal sculpture at Flagler College. His work has continued to evolve hinting at an organic nature and a juxtaposition of found with fabricated materials.

-Kimberly Myhre, 2016


Click here to view Loren’s most recent work

Opening Reception – Loren Myhre, Peter Ramon, Steven Powers, and Alteronce Gumby

Thank you to everyone who came to the opening reception of, “Recent Work” Saturday night! This exhibition features work by Artists Loren Myhre, Peter Ramon, Steven Powers, and Alteronce Gumby. The exhibition is open now through June 18th. The Gallery is open M-Sa 11am-6pm and Sunday by chance. We are located across the street from the Yale Center for British Art and the Yale University Art Gallery.


Left to Right: Peter Ramon, Steven Powers, Loren Myhre, Kathy & Fred Giampietro


Left to Right: Alteronce Gumby & Steven Powers