The works in the exhibition span a period of over forty years, from some of the artist’s earliest work during art school to his final masterpieces. Throughout his life, Rogers continually examined the complex notion of time and its role in the human experience. He believed forward movement and discovery are accomplished through examining history and creating relevance from the past within the present.
NEW YORK, NY.- Anita Rogers Gallery is presenting Odyssey, a selection of drawings and paintings by British painter Jack Martin Rogers (1945-2001). Anita Rogers, the gallery’s owner and director, is the daughter of the artist and was raised across England, Turkey, Italy and Greece, countries that deeply influenced her father’s work. Anita now owns seventy-five percent of his estate. This is the artist’s first major solo exhibition in the U.S. The collection is on view November 16 – December 30, 2017 at 15 Greene Street, Ground Floor in SoHo, New York.
There is a land called Crete, in the midst of the wine-dark sea, a fair, rich land, begirt with water, and therein are many men, past counting, and ninety cities.
– Homer, The Odyssey
Anita Rogers Gallery is proud to present Odyssey, a selection of drawings and paintings by British painter Jack Martin Rogers (1945-2001). Anita Rogers, the gallery’s owner and director, is the daughter of the artist and was raised across England, Turkey, Italy and Greece, countries that deeply influenced her father’s work. Anita now owns seventy-five percent of his estate. This will be the artist’s first major solo exhibition in the U.S. The collection will be on view November 16 – December 30, 2017 at 15 Greene Street, Ground Floor in SoHo, New York.
The works in the exhibition span a period of over forty years, from some of the artist’s earliest work during art school to his final masterpieces. Throughout his life, Rogers continually examined the complex notion of time and its role in the human experience. He believed forward movement and discovery are accomplished through examining history and creating relevance from the past within the present. Rogers spent much of his life studying scientific ideas relating to time and considering how certain discoveries would alter perception and the potential impact of these alterations. His life’s work was dedicated to studying the concept of human identity within the realms of modernity and progress; he firmly believed that the only way forward is to embrace and learn from, rather than reject, the contributions of the past. This dichotomy is captured in his work, which presents traditional subjects, such as classical and religious architecture, alongside modern ones. One of the artist’s most significant works is a large format, six-part canvas painting of Knossos, the largest Bronze age archaeological site in Crete. In this painting, Rogers pulls the ancient ruins from the past into the present by using bold colors and abstract motifs.
The artist defies categorization as “abstract” or “figurative”; he moved through both genres seamlessly during his life, often merging the two. Even his wholly representational paintings touch on philosophical ideas. The figures are not static in any one time or place but rather are symbols; they act as stand-ins for men passing through time and examining history. While often addressing traditional subject matter, the works remain contemporary and relevant.
Rogers was born in Warwickshire, UK in 1945. He was classically trained in anatomy and fine art at the Birmingham School of Art. There, he developed his meticulous methods. He worked on extensive preparatory drawings before beginning his paintings; a selection of these will be included in the exhibition, offering a rare glimpse into the artist’s process. The artist moved to the Greek island of Crete in 1962, where he entered his most prolific artistic period; many of the works featured in the exhibition are from this time. He was heavily inspired by the landscape of Greece, as well as by classical literature and music; in fact, Rogers himself was an exceptional musician and often made his own instruments. He died in 2001, leaving behind an extraordinary body of work.
Joan Waltemath sat down with Christine de Lignieres for TheFinch.Net to discuss her work, philosophy, life and death. Waltemath’s drawings are on view at Anita Rogers Gallery through November 11, 2017.
Christine de Lignieres: Your work is visually related to a high — modernist formalism that includes Bauhaus, De Stijl, Mondrian … to aesthetic movements, at a certain period in history. Do you feel a kinship with those artists?
Joan Waltemath: I don’t really approach my work stylistically in relation to Modernism because the kind of geometry that I’m working with is so old, and I mean mostly it’s been used in architecture. If you look at plans from Gothic and Romanesque churches, from the pyramids, the Ziggurats — these geometric forms obey certain mathematical laws of nature. That’s the basis of the grid I work on using harmonic ratios. The lineage of modernism is something that I’m obviously in tune with, but my focal point is more on the timeless nature of the geometry itself and how it’s able to open certain doors of perception.
When I was growing up in Nebraska, the things I looked at were the Plains Indian beadwork and painted hides. I remember that many people were really astounded by the beauty of the Plains Indian show at the MET a couple of years ago and for me that was also a great moment, but a very familiar one that had already impressed me. I could identify most of the pieces in the show, whether I had seen them before — or only in books and often I would know what museums they are in or what part of the country or world. The Plains Indian works and ceremonial objects are really my deepest connection to art. There’s a certain dichotomy between their apparent resemblance to modernism and their actual roots in a much more ancient worldview — and that is true of my own work to some degree as well.
Opening Reception October 11, 2017, 6-8pm
Works on Paper
Drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath
Photo Credit: Rachel Kirby Photography
New shows of all kinds are opening in New York City galleries this week. Art galleries in Chelsea, Uptown, Downtown and Brooklyn are hosting solo shows, group exhibitions and retrospective surveys. Viewers can check out sculpture that toes the line between childlike and creepy, portraits that are intimate looks into realistic or imaginary worlds and drawings that defy expectations.
DOWNTOWN — Anita Rogers Gallery: “Works on Paper: Drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath”
October 11 through November 11, 2017
Opening Reception: Wednesday, October 11, from 6 to 8 p.m.
Anita Rogers Gallery presents “Work on Paper: Drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath,” a group exhibition that aims to celebrate drawing as a primary form of artistic communication.
It all goes back to drawing. – Gordon Moore
Anita Rogers Gallery presents Works on Paper, an exhibition of drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath. The exhibition will be on view October 11 – November 11, 2017 at the gallery’s new location at 15 Greene Street, Ground Floor in SoHo, New York. There will be an opening reception on Wednesday, October 11, 6-8pm.
Collectively, the works in the exhibition reflect on the intimate nature of drawing. The pieces allow the viewer to engage with the artists and their processes in an exceptionally close manner. The show aims to celebrate drawing as not only fundamental to the artist’s practice but as a primary form of artistic communication.
Moore works in an innovative way; the grounds for his drawings are sheets of developed photo emulsion paper. He then draws on top of and in response to the elements present in the paper. There is an unusual depth to the final pieces – they challenge the viewers’ natural perceptions. Moore (b. 1947, Iowa) has pieces 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).
Negroponte will exhibit a series of drawings spanning from 1996 to 2016, each constructed from several pieces of paper, painted, cut and then placed back together in different configurations. On this work, Negroponte states, “Primacy counts more than anything right now. I want to get down to the barest essence: discarding the object for a trace or glimpse of it residing in the weight of each mark or shape.” Negroponte (b. 1953, New York) has work in the collections of the Harvard University Art Museum and The Metropolitan Museum of Art.
Waltemath makes mindful drawings; they are studies for her Torso/Roots series of paintings and will be on view unframed. Like her paintings they are based on a grid derived from harmonic mathematical relationships but, here, the handmade paper acts as both the ground and frame for the grid. Its presence is as prominent and powerful as her paint. At once lush and subtle, her works on paper are delicate glimpses into her process. Waltemath (b. 1953, Nebraska) is in the collections of the Museum of Modern Art, the National Gallery of Art, the Hammer Museum and the Harvard University Art Museum.
Gloria Ortiz-Hernández’s Plate/Shift #10 (2006, Graphite pencil, charcoal powder, and pigment on wove paper, 22″ x 22″) is currently on view at the Morgan Library and Museum in New York City. The piece is part of the museum’s permanent collection. Gift of Sally and Howard Lepow.
Notes from the museum:
In 1998, Gloria Ortiz-Hernandez gave up the brightly colored figurative paintings that she had been doing for years and began drawing simple geometric forms. Like many of these drawings, Plate/Shift #10 belongs to a series in which the artist explores different combinations of a similar composition. Made of numerous layers of almost imperceptible strokes the subtle gradation from dark to light suggests volume and depth, and gives this deceptively simple composition a great tactile beauty. The drawing is typical of Ortiz-Hernandez’s work in its fusion of a minimalist aesthetic with an exquisite sense of refinement.
Visit our new location at 15 Greene Street, Ground Floor, New York, NY 10013.
Works by Virva Hinemo, Gordon Moore, George Negroponte and Kazimira Rachfal are on view at 77 Jobs Lane, Southampton, NY through October 1 in collaboration with Laviano Design Studio.
View more on the gallery’s website: http://www.anitarogersgallery.com/
More information on Laviano Design Studio: https://www.lavianodesignstudio.com/