Anita Rogers Gallery Opens Group Exhibition of Work by Three Artists
NEW YORK, NY.- Anita Rogers Gallery presents a group exhibition of work by three artists: John Ashworth, Gordon Moore and Mark Webber. The gallery introduces John Ashworth to the gallery for the first time; Ashworth’s detailed acrylic paintings on paper, canvas and panel are rich in texture, detail and illuminated color. Moore’s works on photo emulsion paper explore depth, perspective, balance and asymmetry. Webber’s hydrocal and plaster sculptures recall architectural forms but are firmly sculpture; the works are defined by their elegant lines and careful balance. The exhibition is on view January 9 – February 2, 2019 at 15 Greene Street, Ground Floor, New York, NY 10013.
Born in New York in 1939, painter/sculptor John Ashworth began appreciating art at the age of 8 while visiting seminal institutions such as Metropolitan Museum of Art, The Museum of Modern Art, and Whitney Museum of American Art — as well as 57th Street galleries. Two years later, his own work hung — with that of artists many years his senior — at Washington Square Park. Exhibition attendees purchased all of his hundreds of folded, Rorschach-type blots in poster paint on typing paper pasted onto vertical scrolls. After moving to Massachusetts, where he graduated from high school in 1956, John pursued applied industrial physics at Wentworth Institute in Boston. From there, he majored in civil and structural engineering at Northeastern University and then attended Harvard University Graduate School of Design and, on scholarship, Boston’s School of the Museum of Fine Arts at Tufts.
Born in Cherokee, IA, Gordon Moore received his undergraduate degree from the University of Washington, Seattle in 1970 and then went on to receive his MFA from Yale University in 1972. He has received numerous awards and grants including the National Endowment for the Arts-Visual Artists Fellowship, the Louis Comfort Tiffany Foundation Award in Painting, the Adolph and Ester Gottlieb Foundation Award in Painting, the Academy Award in Art from the American Academy of Arts and Letters, Pollock Krasner Foundation Grant and the New York Foundation for the Arts Fellowship. Moore’s work can be seen in the collections of the Museum of Fine Arts (Boston, MA), Yale University Art Gallery (CT), Baltimore Museum of Art (MD), General Electric Corporation (OH), the Krannert Art Museum (IL) and Kinkead Pavilion (IL). Most recently, Moore’s work was shown in a major solo exhibition at the Salina Art Center in Kansas. The gallery will host a solo exhibition of work by the artist in February 2019.
Mark Webber resides in Sag Harbor, NY where he has worked as a cabinetmaker for many years. There he learned the craft of making objects and put in his time to develop that ability. Webber studied under Charles Ginnever and Peter Forakis at Windham College in Vermont. He received a BFA in sculpture at SUNY, Purchase. He has exhibited at many galleries in the Hamptons and is in several private collections on the East Coast.
Curator Caroline Spang sat down with Gallery Owner and Director, Anita Rogers, ahead of Taverna Rebetika, an annual celebration of Greek culture taking place Dec 1 at the Anita Rogers Gallery.
CP: How does your background and experience living in Greece influence the artists and work featured in the Anita Rogers Gallery?
AR: My parents held 1960s values. They were free spirits, educated and open humanitarians who valued folk culture. My father moved to Greece in 1962. The mentality and culture in 1980s Greece reflected 1960s Western Europe: unspoiled and carefree. This was a time when the art world had more universal meaning and depth – before the mass market idea had really taken over. My values are rooted in this time and these memories.
I approach the gallery from an artist’s point of view as I was raised by an artist who understood art as something that was in search of truth, searching to understand what it means to be human, exploring that which connects us deeply as humans, almost approaching the metaphysical but while staying rooted in the human experience and truth. This shaped my values and approach to running a gallery in NYC. I choose artists whose visual abilities are exceptional and whose aesthetic approach and philosophical ideas are in line with the beliefs I described and in line with the values that were held, as I remember them, pre-mass media and before the contemporary art scene became more of a mockery and the overblown financial marketplace that it is now.
CP: What is your process of selecting artists to work with?
AR: I can tell very quickly when I look at the work in person. I judge by looking at the work and engaging with it. The work will speak for itself. Finding artists good enough is the most challenging part of running the gallery. There has been a culture of “anything can be art” for some time. This lack of discernment results in having to wade through so much work to even start to find potential fits for us. We are only interested in art we feel has the right essence—that which will withstand the test of time. We call ourselves “incubators.”
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Please join us for TAVERNA REBETIKA, a night of Traditional Rebetiko and Smyrnaiko music hosted by Anita Rogers Gallery in SoHo on December 1st, 2018.
Greek food, wine and kefi for all!
Live Music by I Meraklides
Anita Rogers: Voice and guitar
Dimitris Mann: Bouzouki and voice
Beth Bahia Cohen: Violin and baglama
Vasilis Kostas: Laouto, voice and guitar
$20 online before 12/1. $25 at the door.
October 16, 2018
Young Space: What ideas are you exploring in your practice?
Tristan Barlow: My paintings are a mix of ideas that have built up over the years. I have a very strong relationship to art history, old Italian masters of the quattrocento, and the romanticism of ideas concerning space, ruminations of old teachers that have bounced around in my head and turned themselves into mythology. Though my paintings are, for the most part, “abstract,” I think of them more as an arena of spatial possibilities where the confluence of ideas is transformed into a visual language of symbols. Mark-making, layers, pigment, and a willing suspension of disbelief concerning the impossibilities of space lends itself to a world of visual fictions.
YS: What is your process like?
TB: I work with oil paint and that affords a plethora of possibilities. I experiment often in my application of paint. I edit, scrub, scrape, layer, etc…
Visually, my process is a filtering of ideas and notions from all sorts of sources. The idea of a mirrored image and Narcissus can send me through 20 paintings. So can a trip to the British museum or the light from a beach in Florida. Or what it would be like if Botecelli were to make a whole painting of grass and flowers? What if the Ancient Egyptians had internet?
YS: Do you have a mentor, or a piece of advice (or both), which has influenced your practice?
TB: My first professor in Mississippi, who I must give a lot of credit to, told me, “Son, in this business you gotta fish or cut bait.” That, inexplicably, has come back to mind many a time.
195 Chrystie Street Gallery, NYC (Lower East Side), Location of the 129th Annual Members’ Exhibition.
The National Association of Women Artists is honored to present its 129th Annual Members’ Exhibition, a show of paintings, works on paper, sculpture, mixed media, photography, and collage by established member artists. This year, the exhibit will be held at 195 Chrystie Street in the artistic heart of New York’s Lower East Side. For two weeks, members’ artworks will be on displayed 7 days of the week, just a heartbeat away from the New Museum of Contemporary Art, the International Center for Photography, the celebrated Tenement Museum and many other galleries and restaurants ideal for the gallery-going public.
The Annual Member’s Exhibition continues NAWA’s long history of nurturing and inspiring talented, visionary and dynamic women artists from throughout the United States. NAWA was founded in 1889 by five brave and innovative women who were barred from full participation in the male-dominated National Academy of Design and the Society of American Artists. Early exhibitions included works by Mary Cassatt, Suzanne Valadon among others and as the roster grew, Gertrude Vanderbilt Whitney, Louise Nevelson and Alice Neel became noted member luminaries. NAWA’s existence is a testament to the integral and essential role of women in the art world. NAWA’s president, Jill Cliffer Baratta, will be hosting the opening reception and award ceremony from 6:00 – 9:00 pm. on Thursday, October 11, 2018, with over $10,000 in awards.
This year’s lineup of jurors is an impressive one—a distinguished painter-writer-teacher, a SoHo gallery owner and a senior curator for the Brooklyn Museum.
Discourse: Abstract at Anita Rogers Gallery, is an 11 person painting show; one work per artist. As with Sutures, each of the works has its own distinct style and presence. They run the gamut from small to large; some unabashedly dependent on color, while others employ a very limited palette. But where Sutures radiates energy and activity, Discourse is quiet and thoughtful; the atmosphere in the gallery is contemplative with each work demanding to be seen in its own time which the generous gallery space allows for.
The coherence of the show comes from a shared command these artists display of both materials and process. One feels these works were chosen as much to create a discussion about the current state of abstraction as to provide a gateway into further exploration of each artist’s oeuvre. Much of the work presents a concern with formal considerations but the show does not ignore conceptual exploration, gestural passages and mixed media; Lael Marshall’s piece, for example, could have easily found a home in Sutures.
At opposite ends of the exhibition (literally and figuratively) are works by Susan Smith and Mary McDonnell. Smith’s piece is one of the smallest and is composed of primary colors. It is seemingly straightforward, an initial impression that is challenged by an unexpected juxtaposition of media. What appears to be a simple formal construction of three squares becomes strangely visceral and moving in its elegant handling of materials.
McDonnell on the other hand is represented by a large work is unruly and fairly bristling with color which seems to emerge in spite of its dark palette. It is also a profoundly gestural work that is barely contained by the canvas, as if she just managed to capture the presence of some unknown force.
In between these pieces is Joan Waltemath’s painting where hard edge black forms lay atop a field of expressive and beautiful colors, reading perhaps as blips of data floating across our lives. This painting acts almost as a map of the exhibition; it has aspects of almost every work in the show containing as it does, an exploration of color, an authority of line, the power of “the edge”, an expressionist sense of abstraction and the layering of elements.
Paintings & Works on Paper, 2007-17
On view: September 19- December 16, 2018
Salina Art Center
242 S. Santa Fe Avenue
Salina, KS 67401
Gordon Moore | Abstract Intention
The essential idea in my abstraction is to extract visual elements inherent in the ‘detritus’ of everyday life and reorder their original presence. The juxtaposition of order and chaos, of the organic and the geometric, of clarity and ambiguity, and of diffusion and resolution form the genesis of my work. Our organic lives are ‘ordered’ out of the architectural geometry which surrounds us. That paradox is rampant with potential for visual construct, the arrangement of which supplies the optic content of my work.
– Gordon Moore
Since his arrival in New York City in 1972, by way of New Haven, Connecticut, where he earned an MFA in painting at Yale University, Gordon Moore has been steadfast in his commitment to abstraction. For over four decades, Moore has devoted his studio practice to developing a deeply personal visual language with which to explore, reconcile, and transcend oppositional realities. Moore’s images reference commonplace shapes and forms encountered during daily life in the chaotic, urban environs of New York City. Venetian blinds, architectural elements, a handmade palm leaf fan, and plastic spikes used to deter pigeons from roosting are among the many objects in which he finds visual inspiration. The work in this exhibition spans the years 2007 and 2017, a period during which the artist’s ongoing investigation into the material and visual potential of photographic paper has yielded significant and powerful results. Moore’s paintings and drawings brim with a seductive uncanniness; there is a compelling and enigmatic ambiguity at work in the interplay among line, plane, and space. One is never certain about what one is seeing. Free of irony and pregnant with metaphoric potential, Moore’s imagery works toward a reconciliation of extremes — visually, materially, and otherwise.
Lunch & Learn with Gordon Moore
Wednesday, September 19, 12-1 p.m. Bring a sack lunch, refreshments provided.
Opening Exhibition Reception & Artist Talk
Thursday, September 20, 6-8 p.m. Talk at 7 p.m.
Guided Exhibition Tours
October 13, November 10, December 8, 2 p.m.
All programming is free & open to the public.
What’s the Difference Between a Butler and a House Manager, Anyway?
“Is he your butler?” writer Taffy Brodesser-Akner asks Paltrow, referring to the man who greeted her—and then served her a glass of wine—at Paltrow’s home.
“No, he’s a house manager,” Paltrow responds. “He’s the best. He’s from Chicago. He’s so incredible. He helps me with everything.”
The entire exchange, which consisted of approximately 43 words, was one of the most buzzed-about takeaways from the piece. It even prompted The Times of London to publish an imagined “conversation” between the actress and her non-butler butler. Was it a classic case of Paltrow pretentiousness—or has GP stumbled upon a phenomenon just before it goes mainstream? (You know, as mainstream as household staff gets.)
In an effort to get to the bottom of this decidedly one-percent debate, we reached out to British American Household Staffing, an agency that provides formally trained estate managers, personal assistants, chauffeurs, governesses, butlers, and baby nurses to the kind of clientele that can afford it. Surely, they would be able to shed some light on the subject.
“She’s actually right,” says BAHS president Anita Rogers. “They have very different backgrounds and different roles. A house manager oversees the structure of the staff and typically does all of the hiring and firing. They handle scheduling—making sure a chauffeur is always on call, housekeepers shifts are covered, and that a replacement is available if someone calls in sick. They’re also responsible for the budgeting, financial planning, and overall management of household.”
Butlers, on the other hand, are more service-oriented. “A seasoned butler is properly trained in etiquette, so they understand how to serve a meal and handle all the details, from the wine pairings down to the flower arranging,” explains Rogers. “They provide a white glove experience, which not everyone needs or wants. In Silicon Valley, for instance, no one would have a butler. But in New York, it’s much more common.”
And while house managers frequently come from a hospitality background—often having worked as the chief of staff at a high-end hotel or resort—butlers are trained at a specialized and credited butler academy.
So there you have it. Gwyneth, Queen of Goop, was right all along. Of course she was. Did you really expect anything less?
Visit BAHS.com for more info.
June 21, 2018
Tribeca Art+Culture Night is a quarterly local arts festival that celebrates culture at large in Tribeca. It is free and open to the public.
This urban festival embraces the diversity of creative expression, from drawing to design, performance to crafts, music to fashion, and everything in between.
25+ Lower Manhattan venues participate to the festival, including indoor and outdoor spaces such as art nonprofits, galleries, and parks. The event brings the greater New York City community together around exhibitions, performances, talks and workshops.
Jennifer Famery-Mariani, Director and Chief Curator of TAC Night launched the festival in 2016.
On June 21, Anita Rogers Gallery will participate for the first time. Work by Mark Webber and Jack Martin Rogers will be on view; the gallery will stay open until 9pm.
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