Visit our new location at 15 Greene Street, Ground Floor, New York, NY 10013.
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/
On Saturday, January 28, Anita Rogers Gallery hosted TAVERNA REBETIKA, a special event celebrating Greece, life, music and art with traditional Rebetiko and Smyrnaiko.
The gallery was transformed into a 1930s style Greek taverna for this special evening. There was live Greek music from the 1930s, Greek food, unlimited wine and Greek dancing in a traditional setting. Anita sang with Rebetiko group “I Meraklides.” Works by Brice Marden, George Negroponte and Jack Martin Rogers were on view for the event, all whom are either Greek or painted in Greece.
Download short video of Taverna Rebetika.
ANITA ROGERS GALLERY
This hidden gem exhibits a wide range of emerging to mid-career artists in an elegant high-ceilinged space flooded in light, with an old-fashioned fireplace to boot. Highlights include the abstract minimalist paintings of George Negroponte on irregular pieces of cardboard. While they may appear slight at first, there’s a subtle beauty of geometric expression that shines through the longer you peer into these unique creations.
– CHRISTOPHER KOMPANEK, TRAVELMAG
View the full list on TravelMag.com
Interesting article from Artsy.Net:
In 2004, Dan McCleary’s mother passed away. “My parents were avid book readers and collectors of art books,” the artist told me. “So instead of buying flowers, I told everyone to buy me books.”
That was the early genesis for a library of art books that grew to become the core of Art Division, an L.A. nonprofit space that provides free art education to underserved young adults in the city’s MacArthur Park neighborhood. As word spread that McCleary was collecting books, more donations came in from friends and fellow artists. “Chris Burden heard about it, got in touch with me and said his mother had just passed away, and did I want her books?” McCleary recalls. “He had amazing art books from his mother’s library. That was one of the big donations right at the beginning.” Today, Art Division boasts an impressive collection of over 8,000 books. And it’s still growing.
In the early days, McCleary was working as Director of Art Programs at Heart of Los Angeles (HOLA), another nonprofit that primarily focused on enrichment programs for kids from younger age groups. Eventually, he founded Art Division in 2010 with help from Javier Carrillo, Maria Galicia, and Emmanuel Galvez. They took the more adult-oriented books from the collection they’d amassed at HOLA—with permission—and set up shop in a building in the primarily Latino neighborhood of MacArthur Park. McCleary geared the space towards young adults between 18 and 26 who were “not ready to go off and be full-blown adults” as he puts it, but who had graduated high school and found what miniscule access to arts training they had cut off.
The 10,000 book library is the “heart and soul” of Art Division. From there, the nonprofit offers a range of courses and access to arts materials, providing something of a “high-end Master’s program for inner-city young adults,” said McCleary. “We give them an in-depth training in the arts.” Art Division offers entirely free classes (semesters are roughly 12 weeks) in art history, painting, drawing, printmaking, creative writing, film, and more. Access to materials, like the classes themselves, is completely gratis. Students are also taken to L.A.’s numerous museums (MOCA is a 10-minute drive) to actually see the art they studied first hand—a kind of in-person education not available even to some full-time art history undergraduates at rural schools. But beyond access, Art Division is different than your normal art history course. The latter is “slide after slide and half the class falls asleep,” McCleary said. “The point is that we don’t do that. We take a good look at the actual books and go see the art.”
And, of course, anyone can visit Art Division and crack open one of the thousands of books on the shelves to guide their studies or develop their interests as they see fit. That openness and freedom is important to McCleary. Beyond the classes, Art Division serves as a space where residents can come to relax, foster ideas, and hone their art historical knowledge. “We’re open six days a week, from 11 a.m until 8 or 9 o’clock at night,” said McCleary. “People can come and eat, work in the library and do their homework, and also have access to a really great staff and faculty of artists.” The books range from monographs of individual artists to scholarly works on architecture, fashion, art therapy—the list goes on. Teachers integrate the books into their classes and if a student is researching a particular subject or artist, McCleary will make an effort to obtain the needed materials.
Read the full post on Artsy.Net
Anita Rogers Gallery is thrilled to introduce the work of Tristan Barlow and Hans Neleman in an upcoming two-person exhibition. The show, on view from January 10 through February 11, 2017 at 77 Mercer Street #2N, New York, will include original oil paintings from Barlow and mixed media assemblages from Neleman. Both artists embrace bold motifs, strong colors and a sense of the paradoxical, whether it be in the playful yet dark tone of the works, the frenetic yet balanced compositions or the elegant yet provocative nature of the forms.
Despite the show’s title, an alluring softness pervades George Negroponte’s new work in his exhibition, “Gravel Road,” at Anita Rogers Gallery in Soho through January 7. Shaped bits and pieces of cardboard serve as his support. Porous and absorbent as this material is by nature, the deep tan of the cardboard radiates a muted, soothing light recalling the earthen grounds of Vuillard, like whom the work is understated, inviting, intimate. Warmth of ground is balanced, in Negroponte, by a predominately cool palette, though occasionally a fire engine red blasts out from his deep browns, rich greens, blacks and whites. The irregularities of these disassembled boxes makes unpredictability a given. The rounded, overlapping, disk-like forms in the exhibition’s title work, for instance, may suggest stacked vessels, but they find themselves in an interior space rather than the cosmos. As in earlier work, Negroponte will occasionally pair smaller pieces in intriguing combinations. The ensuing dialogue has the animated tension of children sizing each other up in the playground.
George Negroponte comes to making art with a pure love of painting. His aim has never been to turn over the apple cart, or in Al Held’s words, reinvent the wheel. As such, he has been compelled to paint his way through various modes and approaches, learning and searching for authenticity and resonance.
In his current show [at Anita Rogers Gallery]… Negroponte uses shaped bits and pieces of cardboard as his support. The work feels softer than the previous body of work as the material itself is porous and absorbent in nature and the deep tan color of the cardboard radiates a warm muted soothing light, in a way similar to Vuillard who often used earth colored grounds to inform and unify the colors in his composition. Like Vuillard the work tends to be understated, approachable and intimate. These works are small, all under 20” in height, on the longer side. The warmth of the ground is balanced by a predominately cool palette, though occasionally he uses a hard fire engine red and there are also whites, deep browns, rich greens, and black as well. As in his last show Negroponte occasionally uses pairings of smaller pieces in combination. The dialogue is intriguing…
The collaged sculptures of George Negroponte—who admires “the stoic and the splendidly solemn”—are on view at Anita Rogers Gallery.
George is obviously a venerable artist. My early impressions of his latest (re)+work are very positive. Keeping all of this in mind, I’m certain my reflections are influenced by the number of pieces shown, the symmetry of how the pieces are hung, and the architectural qualities and layout of the gallery, and of course the pieces themselves having a constructed efficacious quality; all giving a sense of a utilitarian longing. That is to say, many of the pieces seem to replicate die-cast mechanical objects and at the same time undeniably evanescent cardboard.
This is accomplished by the shapes of the parts and of the objects as a whole, as well as color choices. So rather than the antecedent of things, I see an assembling of finished objects when viewing the entirety of the body of work.
Read the full review on The Architecture of Tomorrow