Category Archives: Events

Travel the World from Home

As the world is home now more than ever, the travel industry has swiftly adapted and is bringing the world’s best destinations to the computer screen. The team at British American Household Staffing put together a list of recommendations for when a change of scenery is much needed. Whether you’re picking a location for a future trip, educating your little one on other cultures or just daydreaming, these virtual adventures make wonderful afternoon getaways.

 

Invite an Italian Chef into your Kitchen 

There are now plenty of ways to bring a taste of Italy into your kitchen any night of the week. We love Pasta and Live Opera in the Kitchen, one of AirBnB’s most popular online experiences; the package offers a live private pasta making class (no special tools required!) via Zoom with a chef in Florence. As a bonus, she sings opera too! Nonna Live is another excellent resource; the site offers 2-3 hour online cooking intensives led by an Italian grandmother in Rome.

If you can’t commit to a scheduled time, try Massimo Bottura’s on-demand Masterclass in Italian cooking; the owner of Osteria Francescana, the three-Michelin-star restaurant based in Modena, covers everything from basic doughs to broths, fish dishes and desserts. For a free option, NYC’s Eataly offers an online course in pasta making with Nicoletta Grippo, the chef at La Scuola di Eataly.

Take a Trip Through the Swiss Countryside

The internet offers a huge variety of virtual train trips, from the mountains of Japan to a trip on Peru’s Ferrocarril Central Andino! from Matucana to San Mateo. However, our favorite is the journey from St. Moritz, Switzerland to Tirano, Italy. Expect a huge variety of stunning sites, from small villages to dazzling blue water and gorgeous mountain views. The virtual trips are great educational tools for curious children or for adults looking to unwind.
Visit the Beaches of Bermuda 

Google Earth’s Discover feature makes it easy to virtually explore a destination while learning about the culture, local customs and more. We love the tours of Bermuda, which allow virtual visitors to discover the pink sand beaches, crystal caves and historic villages.

Wildlife Encounters

Explore.org has the largest selection of wildlife live cameras on the internet. With options ranging from the Tau Waterhole in South Africa to a penguin beach to puppy playtime, there is sure to be something for every child missing the outdoors.

 

Meditate with a Buddhist Monk
A Japanese Buddhist monk from Osaka’s Shitennoji Temple is now offering an online meditation class via Zoom set among the lush forests of Japan. Prices start at $10 per session with no minimum number of sessions.

 

Family Crafts in Barcelona

Transport your family to a small village with few more than 200 inhabitants in in the middle of Spain’s Montseny Natural Park with this AirBnB experience. There you’ll be told ancient legends and led in a simple family-friendly craft project using common household supplies.

Visit Hogwarts
For Harry Potter fans of all ages, Google Earth offers tours of the real life locations used in the Harry Potter films. For young wizards in training, we recommend this Harry Potter Digital Escape Room created by Pennsylvania’s Peters Township Public Library. Finally, J.K. Rowling herself has helped launch Wizarding World, a “Harry Potter at Home Hub,” featuring free puzzles, quizzes, activities and more related to the series.
As always, we’re here to assist with all your household staffing needs during this challenging time. Both childcare and cleaning professionals are considered essential workers and we have implemented strict protocols to make sure your family is as safe as possible. Contact us today to learn more.

 

Jack Martin Rogers: Drawing – Digital Catalog Now Available

Anita Rogers Gallery is proud to present a selection of works on paper by British artist Jack Martin Rogers (1943-2001). Anita Rogers, the owner of the gallery, is the daughter of the artist and now owns seventy-five percent of his estate. This will be the artist’s second major solo exhibition in the U.S. and the first to highlight the artist’s creative process and the centrality of drawing in his practice. The show will debut online in April 2020 and continue in the gallery when we are able to reopen.

The collection features a selection of preparatory drawings, never before seen by the public, that reveal Rogers’ immense dedication to observation and detail. The artist studied anatomy and fine art at the Birmingham School of Art in the UK, often dissecting and sketching bodies of the deceased to learn how to better illustrate the human form. While in school, his meticulous methods took root and they remained at the heart of his work for the rest of his life.

In conjunction with the show, the gallery has released a digital catalog highlighting over thirty works by the artist, the majority of which have never before been seen by the public. Download the digital catalog here.

Email us to pre-order your print copy ($20).

Gordon Moore Awarded a 2020 Guggenheim Fellowship

On April 8, 2020, the Board of Trustees of the John Simon Guggenheim Memorial Foundation approved the awarding of Guggenheim Fellowships to a diverse group of 175 scholars, artists, and writers. Appointed on the basis of prior achievement and exceptional promise, the successful candidates were chosen from a group of almost 3,000 applicants in the Foundation’s ninety-sixth competition.

 

 

 

 

GORDON ENNIS MOORE:

Born in Iowa and raised in Kansas, Gordon Moore began painting pictures at the age of 6 and has never stopped. Being a product of the Great Plains the dominant thematic in his work has long been informed by that experience and that environment and can be defined to this day quite simply as: Space. The creation of which, in an abstract Painting and Drawing idiom, is the fuel which drives his imagination. After finishing the Academic requirements of a formal education in Art, first at the University of Washington in Seattle and then at Yale in New Haven, he moved to the TRUE University of Art and Life In 1972: New York City, where he has lived ever since. In the ensuing years Moore’ work has developed an interest in a refined clarity of edge vaguely redolent of Architectonic space as well as fragments of shapes found from the street experience, most notably – the Bowery, close to which he has lived for nearly half a Century. His work has been most often shown in one-person showings since 2000 and he has received a number of awards and fellowships.

ArtNet: 13 of Our Favorite Gallery Shows From Coast to Coast That You Can Visit Virtually

Art galleries provide necessary spaces for creative discovery and connection—experiences we all may be seeking in our current existences. Luckily, many galleries across the country can still be visited virtually, and at your work-from-home leisure through Artnet Galleries.

If you’re in need of an art break, here are 13 of our favorite exhibitions, from New York to California, that you can gallery hop through your laptop.

2. “Mark Webber: We Shall Be City Upon a Hill” at Anita Rogers Gallery, New York

Free

Time: All day, every day

Take a virtual tour of Mark Webber’s exhibition here. 

View select pieces from Mark Webber’s solo exhibition.

Installation view of “Mark Webber: We Shall be a City Upon a Hill.” Photo by Jon-Paul Rodriguez

Installation view of “Mark Webber: We Shall be a City Upon a Hill.” Photo by Jon-Paul Rodriguez

 

 

Anita Rogers Gallery | Temporary Closure

ANNOUNCEMENT

 

As of Friday, March 13, the gallery will be temporarily closed due to the evolving COVID-19 situation. The safety of our community, clients, staff and artists is our top priority. During this time, the gallery staff can be reached via email and phone Tuesday-Saturday 10am-6pm.

Info@AnitaRogersGallery.com
347.604.2346

We will update our community via email when we reopen. Visit this page to join our mailing list. We will also share updates on our website and our social media.

We look forward to seeing everyone in the near future!

Visit Mark Webber’s ‘We Shall be a City Upon a Hill’ on Artland

Anita Rogers Gallery has partnered with Artland.com to bring you a 3D tour of Mark Webber’s 2020 solo show, ‘We Shall be a City Upon a Hill.’

Click below to walk through the gallery and view Webber’s Portals, City of Sculptures and wall of Fragments.

Read the press release on anitarogersgallery.com

View the opening reception photos here.

Virva Hinnemo and George Negroponte Featured in ‘Consummate Plush’ at the MOCA L.I.

The enigmatic genius of Emily Dickinson has been studied for over a century, yet she remains a beguiling literary and literal conundrum. Part mystic, part heretic, she wrote in metaphor with aching clarity. Dickinson envisioned the mind and spiritless as concepts than as actual places; she feigned conventionality in her dress and manner yet was an early feminist, and her use of language and grammar upended literary convention. She questioned faith, morality, pain, and ecstasy. A botany aficionado and gardener, the poet also assembled an herbarium of 424 flowers, now residing at the Harvard Houghton Rare Book Library. Her posthumous success revealed Dickinson to be one of the great modernist voices in American poetry.

Consummate Plush is a response to Dickinson’s quiet yet radical oeuvre, her flexible use of structure, and the depth of her self-inquiry. Judith Page’s veiled figures and Daniel Wiener’s fantastical motifs possess vestiges of the Gothic, touching on Dickinson’s plastic sense of identity and mortality. Christa Maiwald’s embroidered images recall the stitched bundles of poetry found in Dickinson’s bureau after her death. Lucy Winton and Charles Yuen share a sense of the dreamscape – places where the chimerical exists alongside this-ness and otherness. Virva Hinnemo’s use of gesture and spatial depth transport us to an environment in which writing and imagery coexist. Bonnie Rychlak’s subversive drains offer both a sense of escape and reflection, and Linda Miller’s examinations of organic form elude to abstract figuration and the monumental. For George Negroponte, an incisive use of pastiche and tight, visual reciprocity conjures Dickinson’s startling poetic structure. In Laurie Lambrecht’s embroidered, photographic images, it is the poet’s genteel life in the botanical that confers a sense of natural wonder, order, and reverence.

Selected artists include Virva Hinnemo, Laurie Lambrecht, Christa Maiwald, Linda Miller, George Negroponte, Judith Page, Bonnie Rychlak, Daniel Wiener, Lucy Winton, and Charles Yuen.

Join curator Janet Goleas and selected artists on Saturday, March 28th from 10:00 AM – 12:00 PM for a gallery breakfast and discussion, sponsored by the Patchogue Medford Library.

Patchogue Arts Council • MOCA L.I.
20 Terry St, Suite 116, Patchogue, NY 11772

Mark Webber: We Shall be a City Upon a Hill in Art Daily

 

THE ONLY LIVING BOY IN NEW YORK

Picasso created his first version of Guitar sometime between October and November of 1912 and in that moment toppled the most fundamental and timeless rule of sculpture: solidness. Guitar consists of 7 pieces of cardboard stitched together with thread, string, twine, and coated wire. This work was likely slapped together in a flash and under the intoxicating sway of a first encounter. Picasso applied the ideas he and Braque had advanced about cubism and collage to an assemblage beautifully visualized in space. The yolk of the egg was broken, and the omelet was born.

Mark Webber assembles many different elements: hand-made, man-made, or found, in striking relationships using steel, stone, wood, glass, and hydrocal. He forges ahead with his visual fragments like a tireless explorer instinctively negotiating and shifting gears in search of surprising places. His images ooze rustic constructivism like a Joaquín Torres-García wood sculpture from 1930 brought up to code. Webber straightforwardly identifies his works in groupings with very simple designations such as structures, walls, portals, and vessels. But a preconscious sparkle also animates his images with anthropomorphic prompts and body language that simulate common gestures like a handshake or a greeting. Encounters between friends.

Mark Webber. Untitled. 2019. Copper wire, Hydrocal, Steel, Glass, Permanent Marker. 8 1/8h x 40w x 5d in

Some of Webber’s sculptures bring together parts or pieces that are curious and tantalizingly difficult. It is not hard to spot a cheeky calculation when a rock is bluntly attached to an L-shaped stucco form with a flat metal bracket that is reminiscent of a deadpan, take-a-hike Buster Keaton routine. In reality, the overall take from Webber’s work is elegiac: a solemn wink, a desolate location, and all in the service of commemorating another time and place. While some artists acknowledge the past with subtle pictorial nods, Webber firmly grounds history in the here and now, not unlike Giorgio de Chirico’s metaphysical images of empty cityscapes and piazzas. Let’s face it: Webber demolishes the present.

The best work of Webber is stoic and evokes an otherworldliness captured, set apart and isolated. His means are cloaked in quiet. Webber graciously spares us the nonsense of nostalgia by fusing fact and fiction, material and message, and a compelling amount of living human quotient. In a cluster, his sculptures create a diaspora of figures vying for attention but clearly performing in unison; collectively they create a timeless model of behavior and comportment. Peter Schjeldahl in his recent article “The Art of Dying” eloquently writes:

I like to say that contemporary art consists of all artworks, five thousand years or five minutes old that physically exist in the present. We look at them with contemporary eyes, the only kinds of eyes that there ever are.

Mark Webber is driven by a belief in the making of sculpture that is endangered. Today art arrives pre-packaged and with a mandatory “identity” meant as “admission” into the club. Gone is the hard-won effort to break free and gain true independence from the slavery of acceptance. Webber defies the odds. His work moves like lava from the mouth of a volcano: slow, deliberate, and mysterious.

– George Negroponte

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On Mark Webber | An Essay by Eliza Callahan

Mark Webber. Untitled. 2019. Stone, Hydrocal, Steel. 23″ x 15″ x 9″

It is neither too difficult nor unreasonable, at this particular moment in time, to imagine a dramatic or catastrophic shift in our landscape that shuttles us into a new epoch. But what is left over after the event and who finds what is left?—Broken foundations, pieces of larger structures that no longer exist, colors stripped or faded away. Just like that, a new antiquity is formed. When looking at Mark Webber’s sculptures, which often take form as objects made from interlocking shapes, there is a sense that the parts which comprise the work are made from pieces of greater structures, a vision of what is left. Webber makes use of a combination of hand sculpted and ready-made, found materials to build his monochrome, architectural constructions (Webber sites Luis Barragan’s Emotional Architecture as an influence). His minimal formations often make use of hydrocal—a mixture of plaster and cement which appears almost like ceramic or stone—-as primary material which he then mingles or fastens with glass, wood, steel and sometimes string. The white sculptures lend a cycladic air. His studio which is so heavily populated by the work, appears like a small, dream-like city, a visible nod to Atelier Brancusi.

Webber’s sculptures are just as gestural as they are structural; there is a push and pull between calculation and happenstance. In them an, intrinsic harmony exists—like pieces from varying puzzles that have somehow slipped (or wedged) into peaceful accord. In Webber’s sculptures, modernism’s sharp, clean edges and hard angled forms have been blunted and weathered as if by the elements. (Webber is a devoted sailor and paddler and a nautical note is present).

It is compelling to consider Webber’s background as a cabinet maker and furniture designer in relation to his art objects which visibly share some lineage with functional design. While Webber’s sculptures lend an air of function, as viewers, we are not able to gather what that function might be, and that is not the point.

– Eliza Callahan

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