Under the Apple Tree: Elisa Lendvay & Becky Yazdan with works by Judith Simonian and Michael Angelis

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ART, Becky Yazdan, Elisa Lendvay, Judith Simonian, Michael Angelis, Painting, Sculpture, work on paper

Under the Apple Tree: Elisa Lendvay & Becky Yazdan with works by Judith Simian and Michael Angelis

September 9, 2017 – October 7, 2017

Artists Talk is Saturday, October 7th, 2PM

Fred Giampietro Gallery is pleased to announce an exhibition of works by Elisa Lendvay and Becky Yazdan, with works by Judith Simian and Michael Angelis.

 

“The Apple Tree can be seen as a sanctuary or a shelter, or it can be seen as beautiful temptation, offering poisonous fruit. In Shel Silverstein’s The Giving Tree, the apple tree exists to make the boy happy, offering fruit to eat, branches to swing on and lumber to build a house. The boy returns as a tired old man and the tree, having sacrificed everything, has nothing left but a stump for him to sit on.”

“And the tree was happy…but not really.” – Yazdan

In a recent statement, Yazdan describes her new work, “This particular body of work focuses on transitions and change and the violence and inevitable resistance that come along with it. In order for the caterpillar to turn into the butterfly it must digest itself with its own enzymes. For one to move forward, things must be left behind — how do you decide what stays and what goes? Do you keep the baby or does it get thrown out with the bath water?”

New York based artist, Becky Yazdan received her MFA from the NY Studio School, studying with Bill Jensen and Graham Nickson. She received her Bachelors of Fine Art from the University of Colorado at Boulder. Yazdan’s work has been exhibited throughout the East Coast and New York and she has received many prestigious awards including the Emma Strain Award, Top 100 Artists by GLAAD, and the Hohenberg Travel Award.

Click here to view available works by Yazdan

Lendvay’s explorations in making form, color and enigmatic objects move between sculpture, painting and drawing. They present interplays among internal vision, observation of nature, and corporality to generate moments of perception, truth, and whimsey. Diverse materials are employed to consider how unlike elements can merge into something other and new. She explores the physicality of making and matter with a sense of play and discovery in the process.

Elisa Lendvay’s recent solo exhibitions have been at Jason McCoy Gallery, New York, NY and Fred Giampietro Gallery, New Haven, CT, and group exhibitions nationally and internationally. She recently moved from NYC to a farmhouse in the Hudson Valley, NY. Lendvay holds an MFA in Sculpture from Bard College, Annandale-on-Hudson, New York, and a BFA from the University of Texas at Austin and Bennington College. Lendvay has been awarded 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 Dallas Museum of Art, The University of Texas at Austin, and the Marie Walsh Art Foundation. She is teaching at Marist College and is a visiting faculty member at Bennington for fall 2017.

Click here to view available works by Lendvay

Judith Simonian lives and works in New York City. She was born in Los Angeles, California and received her M.A. and B.A. from California State University, Northridge. She was awarded a Guggenheim Foundation Fellowship in 2014. Simonian’s work has been exhibited throughout the United States. Her work has been included in many public collections including the Broad Art Foundation in Paris, France, UCLA/Hammer Museum, the Museum of Contemporary Art in San Diego, the Fresno Museum of Art, and the Madison Museum of Contemporary Art in Madison, WI.

Click here to view available works by Simonian

 

Michael Angelis lives and works in New Haven, CT. He obtained a BFA of sorts from SUNY Purchase in 2001, and a Masters of Art Education from Teachers College in 2005. He teaches high school and dabbles in printmaking and oil painting.

 

Click here to view available works by Michael Angelis

 

 

 

Richard Lytle: A Retrospective at Fairfield University Art Museum Sep. 14, 2017 – Feb. 3, 2017

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Abstract, Albers, ART, MOMA, NYC, Painting, Sixteen Americans - MOMA, Yale School of Art, Yale University Art Gallery

What an amazing exhibition. Please make a point to see Richard Lytle: A Retrospective at Fairfield University Art Museum – Walsh Gallery. The exhibition is now open and runs through February 3, 2018. An artist’s talk will take place on Tuesday, September 19th at 5pm. Richard also has incredible exterior architectural reliefs (1964-5) located on the Barone Campus Student Center. Included in the exhibition is an early work loaned by the Yale University Art Gallery and a piece that was included in the Sixteen Americans exhibition at MOMA

 

 

Barone Student Center at Fairfield Universtiy:

 

Sixteen Americans exhibition: 

Click here to view the catalogue

Richard Lytle, Possessed, 1959, oil on canvas, 98″ x 79″

Yale University Art Gallery Loan:

Click here to see the Museum’s collection of Lytle’s work

Richard Lytle, Arrival, 1962, oil on canvas, 72.25″ x 84.125″

Gorky’s Granddaughter Interview with Richard Lytle – Feb 2014

 

Becca Lowry at VOLTA NY 2016

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Abstract, Becca Lowry, FREDGIAMPIETROGALLERY, VoltaNY

Becca Lowry will be exhibiting with FRED.GIAMPIETRO Gallery at VOLTA NY 2016

Becca Lowry received her Bachelor of Arts in Economics with a certificate in African Studies from Smith College in North Hampton, MA. Becca’s work has been exhibited throughout New England and can be found in many prestigious private collections. Lowry’s work will be exhibited at VOLTA NY 2016 and in an exhibition with Tom Burckhardt at FRED.GIAMPIETRO Gallery, February 27 – April 2, 2016.

 

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VOLTA NY, MARCH 2–6, 2016

PIER 90, WEST 50TH STREET AT 12TH AVENUE, NEW YORK, NY 10036

PUBLIC HOURS

THURSDAY – SATURDAY, MARCH 3 – 5

12 – 8 pm

SUNDAY, MARCH 6

12 – 6 pm

For more information about VOLTA please click here

Click here for more information on Becca’s upcoming exhibition with Tom Burckhardt

Becca Lowry on view this Feb – April in New Haven and at VOLTA NY 2016

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Becca Lowry, New Haven, Sculpture

Becca Lowry’s work will be on view at VOLTA NY (March 2 – 6) and in an exhibition with Tom Burckhardt (Feb. 27 – April 2) Check out the great review written by Oana Sanziana Marian for ARTFORUM included in the January 2015 issue. 

Becca Lowry

AUTHOR: OANA SANZIANA MARIAN

ARTFORUM January 2015 Issue

“She was the Angelina Jolie of wolves.” So said one of Yellowstone’s biologists of the gray wolf they called the ’06 Female, to whom Becca Lowry dedicated RIP 06 (all works 2014), one of the six sculptural pieces exhibited in her first solo show. In a series of carvings, Lowry trenched and scored the work with an angle grinder, a skill saw, chisels, and, eventually, a rasp; inlaid it with steel; spray- and handpainted it; and, finally, scraped it with a razor. RIP 06’s most delicate element—a vertebraic column down its middle—serves as its center of gravity. Winglike panels extend from the spine like leaves of a book catching a draft of air, while the fringed rectrices of the wall-mounted work’s lower anatomy dangle below them. This centrifugal movement transfixes, like a starburst. The ’06 Female (the wolf), too, seemed to transfix and transform all who saw her. She was killed—legally, it must be said—by a hunter in December 2012, but not before garnering legendary status among the biologists who tracked her, for her beauty and unusually large size, and for jilting five able suitors (extraordinary behavior for a wild wolf) in favor of hunting alone (dangerous for even the largest males), before starting a pack with two inexperienced males of inferior size, which the ’06 Female groomed into skillful hunters, and whose pack still runs strong.

In addition to the six carved works in this show, titled “be me I’ll be you,” there were four works on paper, the most striking of which, Mountains on Mountains, arrests the viewer with repeating ranges of bright orange and blue triangles. As with the sculptures, some areas are cut out and scraped with intricate patterns, while others are layered, here with translucent paint and bits of rice paper in lieu of steel and spray paint. Although Lowry’s works on paper often begin with rubbings from her sculptural works, she has never made any traditional prints. Yet, as with an etching, the history of marks remains embedded, if not wholly visible, within the work’s surface.

“Spiritual” works of art are often of a sticky substance, ways of describing them even stickier. And though Lowry does not explicitly describe the works in this way, they do feel spiritually attuned. Somatic, playful, reminiscent of the combustible forms and colors of Kandinsky and Klee, the pieces in “be me I’ll be you” are what the poet Adrienne Rich might have called “instruments for embodied experience.” Evoking a strip of flesh here, a rib, a phalanx there, they point to their own haptic necessities—asking to be touched, picked up, weighed—but the works also possess the power to stir latent imperatives in the viewer. This leap of faith seems more plausible when you consider the physically brutal process (an embodied experience in itself) of their construction.

Lowry wasn’t thinking of the ’06 Female when she began RIP 06, but after she learned of the wolf, the work assumed an elegiac force, and the artist started to see the object she was making as a shield for those who stand alone and burn. “If these shields actually worked,” Lowry says, “if, like Spider-Man’s suit, they fused to the body of the vulnerable and awakened superhuman strength and courage . . . I would be obliged, and you would be obliged, to stop whatever it is we’re doing right now and mass-produce these things.” The power of this redirected cabinetry lies in the realization that protection can come from the most vulnerable forms. No one can say with certainty by what alchemy vulnerability becomes a shield, but mystics and theologians have tried.

—Oana Sanziana Marian

Boothe, Jukkala, and Angelis

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BrianMorrisGallery, Clint Jukkala, Five Points Gallery, Hartford, MA, Michael Angelis, No. Six Depot, NYC, Power Boothe, RAW, Torrington

Power Boothe

Five Points Gallery – Torrington, CT

FEB 11 – MAR 12, 2016

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Michael Angelis

No. Six Depot – West Stockbridge, MA

FEB 6 – MAR 1, 2016

Real Art Ways – Hartford, CT

FEB 18 – APR 21, 2016

Opening Reception is on Thursday, February 18th during Creative Cocktail Hour

Mike Angelis

Multiple Impressions

Curated by John O’Donnell

Multiple Impressions is an exhibition of 23 artists who make prints using a variety of printmaking processes, ranging from traditional (intaglio, relief, lithography, and screen printing) to experimental (textile, sculpture, and installation). Their works address a variety of topics concerning design, representation, and abstraction. Some artists in this exhibition are painters who make prints, while others are designers who use printmaking to execute ideas.

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Clint Jukkala

Brian Morris Gallery – NYC

HeadSpace

FEB 26 – APR 1, 2016

Curated by Kim Uchiyama

The Collages of Larry Lewis – A short film

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Books, Collage, Larry Lewis, Outsider Art

A wonderful short film about Larry Lewis. The film includes interviews with Sharyn Prentiss Laughton, Lina Morielli, and Jonathan Weinberg.

https://vimeo.com/151681484w=700&h=480

Presented by Sharyn Prentiss Laughton & Lina Morielli, Produced by Lani Asuncion, and courtesy of FRED.GIAMPIETRO Gallery

HYPERALLERGIC – OAF NY 2016 – FRED.GIAMPIETRO Gallery

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FREDGIAMPIETROGALLERY, HYPERALLERGIC, Jana Paleckova, OAF2016, Susan Gerard

Great Article on the Outsider Art Fair NY 2016 by Hyperallergic’s Clair Voon!

GALLERIES

The Personal Passions and Detailed Devotions of the Outsider Art Fair

• by Claire Voon on January 22, 2016

Now in its 24th edition, the Outsider Art Fair has found a new home this year at the Metropolitan Pavilion, currently filled with the fair’s largest number of exhibitors yet. Of the 64 galleries participating from seven different countries, 24 are first-time exhibitors, with a large number of dealers who represent self-taught artists arriving from the nearby Lower East Side. The resulting presentation is incredibly diverse and sprawling. Most booths feature walls hung with artworks and shelves or pedestals covered with curios; you won’t find any sleek light boxes, digital screens, or colossal sculptures that make for easy Instagram fodder here. Rather, the fair is dominated by works that suggest a dedication to handicraft or an intimate fixation on a subject. This attention to detail — tantamount to a reverence — is what makes much of the fair’s art so intriguing and, simply, great.

The materials these artists use to realize their visions tend to be simple, mostly everyday items, manipulated and transformed with devotion. Many artists just engaged with what was available to them: pages ripped from notebooks, recycled paper, paper bags, fabric scraps, bits of wood, found objects. These materials suggest a shared disregard for glamour and an eagerness or need for personal expression.

Cardboard panels serve as the backing for two colorful paintings by the self-taught artist Eugene Von Bruenchenhein, on display at Andrew Edlin; what was once discarded is revived with dynamic, fluid landscapes. Wire-bound and taped sculptures stand like miniature industrial mummies at Fleisher/Ollman gallery, their unconventional bindings wound tight around items like coins and bolts, concealing the small objects like precious treasures. Made by an unknown artist dubbed “Philadelphia Wireman,” the group of six sculptures is part of about 1,200 in existence, abandoned and found in 1982 — a physical remnant attesting to a ritual of creation that was deeply significant to someone. I was reminded of these wrappings when I saw the colorful cocoon works of Tony Pedemonte, on view at Cavin-Morris, that are also made of whatever material he has available, from wood fragments to bicycle wheels. These sculptures by the Creative Growth artist are incredibly charged, disarming in their resemblance to a spider’s dying prey but beguiling in their suggested warmth and vibrancy. (Curiously, they also resemble very closely the works of the late Judith Scott, also represented by Creative Growth.)

More explicitly menacing is Galerie Anne de Villepoix’s series of drawings on tracing paper by Annette Barcelo, who has a story for those searching for the stereotypical narrative of the psychologically troubled outsider artist. A 73-year-old Swiss native, Barcelo claims to be haunted by demons and uses markers to draw vignettes of the peculiar beasts, each one carefully bordered by a thick line of color, as though she were attempting to contain these visions in her art. A series I found just as puzzling but much more compelling is a crowd of painted clay sculptures by Susan Gerard at Fred Giampietro Gallery. Easy to overlook because of their small scale, they stand as an expression of bizarre human interactions and deserve prolonged examination. The figurines — for whatever reason almost all male — are carrying out medical treatments, but others are also being harmed, forming an eerie collection. The self-taught Gerard is a physical therapist, and I wondered if her visualization of these themes was a way to find relief from constantly working with the pain of others.

One unique aspect of the Outsider Art Fair is that not all the art on view was initially intended as art. Perhaps the most delightful surprise is a series of largely anonymous 18th–21st-century drawings from India on view at newcomer Magic Markings. Likely created by monks or religious leaders who reused paper scraps such as old ledgers, the illustrations include diagrams of planetary positions and intricate patterns used as meditation devices. The inclusion of artifacts that showcase the spiritual beliefs of a non-Western community is refreshing, and also exemplifies the ever-broadening definition of outsider art.

Much more recently, the Memphis-born Hawkins Bolden, blind since the age of eight, constructed metal “scarecrows” out of objects he collected around his neighborhood, in an effort to keep birds away from his garden. Out of his practical pursuit emerged a group of whimsical metalworks tasked with keeping watch over and rejecting the outside world. Humanoid because of their strategically arranged holes that look like eyes, the sculptures occupy the entire space of Shrine’s booth, standing on and around a patch of grass. Facing these rusting sentries, one has a sense of Bolden’s resolve to bar unwanted visitors; stepping into the booth seems like it would be an act of transgression, of flouting one man’s fervent pursuit of his own secured space.

Many of these artists aren’t household names, but as figures like Henry Darger prove, outsider art isn’t always so “outsider.” This year marked the passing of two well-known artists of the genre: Paul Laffoley and Ionel Talpazan. While the former’s works are absent at the fair, organizers pay tribute to the latter, who died last September and was known for his long-term obsession with depicting UFOs. Near the fair’s entrance is a memorial exhibition that features an array of Talpazan’s enigmatic spaceship paintings and plaster sculptures that balance on their bases like enlarged children’s spinning tops. Seeing years of his cosmic art together underscores his relentless devotion to exploring unsolved mysteries of the universe. This gathering of Talpazan’s lifework nods to the personal nature of outsider art that makes it especially appealing and that shines at this fair: the need to create primarily for the self, no matter how otherworldly the focus.

Painted clay sculptures by Susan Gerard at Fred Giampietro Gallery

Tony Pedemonte, “Untitled” (2015) at Cavin-Morris Gallery

Hawkins Bolden’s scarecrows at Shrine

Memorial exhibition to Ionel Talpazan

Indian drawings from the 18th–21st centuries at Magic Markings

Works by Uman at Galerie Anne de Villepoix

Daniel Martin Diaz, “Collective consciousness” (2015) at American Primitive Gallery

Sculptures by Lonnie Holley and Joe Minter at James Fuentes

Jana Paleckova at Fred Giampietro Gallery

Works by Linda Marathuwarr and Judy Manany at Rebecca Hossack

Fabric and button sculptures by Momoka Imura at Yukiko Koide Presents

Felipe Jesus Consalvos, “Untitled (White Eagle, Violin and Case)” (c. 1920–50) at Fleisher/Ollman

Paper works by Hidehito Matsubara at YOD Gallery

Collages and assemblages by Peter Thomashow at Marion Harris

Various erotic dolls by Les Frères Lessard at Polysémie

L’Inlassable Gallery

Works from South America at Mariposa Unusual Art

Gilley’s Gallery

Outsider Art Fair 2016 continues at the Metropolitan Pavilion (125 W 18th Street, Chelsea, Manhattan) through January 24.

New Geometry open now through February 20th

We hope that everyone is somewhere safe and warm during this incredible blizzard! The gallery is closed today due to the storm, but we will reopen on Monday at 11am.

If you have not yet viewed our exhibition titled, “New Geometry” be sure to come by the Gallery before February 20th to view incredible works by artists Power Boothe, Anoka Faruqee, Will Lustenader, Gary Stephan, Robert Storr, Blinn Jacobs, Celia Johnson, Don Voisine, and Karen Schiff!

Outsider Art Fair 2016 NYC

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OAF2016

We are thrilled to be exhibiting works by Jana Paleckova, Tizzie Mills, Larry Lewis, Thornton Dial, Lonnie Holley, Miroslav Tichy, Alexander Bogardy, Susan Gerard, Sister Gertrude Morgan, and anonymous at the Outsider Art Fair in NYC! If you are in NY come visit us at the Metropolitan Pavilion Booth 7.

Keeting in California & Boothe in NY

Tags

Abstract, Geometric, Painting, Power Boothe, Zachary Keeting

NYC – Power Boothe

OPENING RECEPTION IS TONIGHT, January 19th, 6-8pm

The Onward of Art: American Abstract Artists 80th Anniversary Exhibition 

January 18 – March 25, 2016

1285 Avenue of the Americas Art Gallery
Between 51st and 52nd Streets, N.Y., N.Y.

The exhibition is a showcase not only of the vitality and relevance of American Abstract Artists in the twenty-first century, but of the continued relevance and vitality of art that communicates directly through the eyes, reaching our intellects and our emotions without words.
— Karen Wilkin, Curator

Participating Artists:
Alice Adams, Steven Alexander, Martin Ball, Siri Berg, Emily Berger, Susan Bonfils, Power Boothe, Naomi Boretz, Sharon Brant, Henry Brown, Marvin Brown, Mark Dagley, Gabriele Evertz, Heidi Glück, Gail Gregg, James Gross, Lynne Harlow, Mara Held, Daniel G. Hill, Gilbert Hsiao, Phillis Ideal, Julian Jackson, Roger Jorgensen, James Juszczyk, Cecily Kahn, Marthe Keller, Iona Kleinhaut, Victor Kord, Irene Lawrence, Jane Logemann, David Mackenzie, Stephen Maine, Katinka Mann, Nancy Manter, Joanne Mattera, Creighton Michael, Manfred Mohr, Judith Murray, John Obuck, Jim Osman, Corey Postiglione, Lucio Pozzi, Raquel Rabinovich, Dorothea Rockburne, Ce Roser, Irene Rousseau, David Row, Anne Russinof, Cordy Ryman, Lorenza Sannai, Mary Schiliro, Claire Seidl, Edward Shalala, Susan Smith, Richard Timperio, Li Trincere, Kim Uchiyama, Vera Vasek, Don Voisine, Stephen Westfall, Jeanne Wilkinson, Mark Williams, Thornton Willis, Kes Zapkus, Nola Zirin

Historical Works by :
Herbert Ferber, Balcomb Greene, Gertrude Greene, Harry Holtzman, Alice Trumbull Mason, Piet Mondrian, Ad Reinhardt, Esphyr Slobodkina, Jack Tworkov, Charmion von Wiegand

Click here to learn more about the exhibition

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California – Zachary Keeting 

Sibling Rivalries at the Torrance Art Museum in CA

January 16 – March 12, 2016

The Torrance Art Museum is pleased to present Sibling Rivalries, a group exhibition of work by artists based in New York City and Los Angeles. The exhibition comprises the work of fourteen New York artists paired with the work of fourteen Los Angeles artists.

The curators, Max Presneill and Ashley Garrett, decided to approach emerging and experimental art spaces in the New York area and asked them to nominate fourteen emerging New York artists. These fourteen New Yorkers then chose fourteen corresponding Los Angeles artists whose work spoke to, inspired and/or informed their own practices

Taking as its point of departure the historic competition between the East and West coasts, Sibling Rivalries transforms the traditional, ‘competitive’ understanding of the term. In this exhibition, ‘rivalry’ expands to encompass a dynamic interaction between art practices occurring in the two primary art and culture production centers of the United States. This exhibition sees the dynamic tension of East Coast, West Coast rivalry as a productive form capable of illuminating contrasting approaches to mutual concerns.

Click here to learn more about the exhibition