Jack Martin Rogers – Artist, Philhellene, Father at Anita Rogers Gallery in NYC
Hellas has been enchanting artists, scholars, and writers for hundreds of years. Among them were Henry Miller, was drawn from Brooklyn to Marousi, and Lawrence Durrell, raised in British India, who fell in love with Corfu. In 1962 Jack Martin Rogers, who was born in Warwickshire, England found himself pulled into the magical island of Crete, and this winter some of his paintings – mainly with Greek themes – were lovingly exhibited by his daughter at her Anita Rogers Gallery in Manhattan.
The first thing on the minds of visitors is determining which of the paintings filling the four walls belonged to Rogers. They appeared to reflect a variety of styles and artistic visions, with items ranging from fully figurative to abstract – but they are all by Rogers. “He spanned over 55 years” Anita Rogers said by way of explanation – but the works appear to have been created by distinct artistic personalities. She acknowledged that, and pointed out that was also the case with Picasso – “you would not know his works were by the same artist.” She added Bob Dylan was also like that musically, and Rogers admired both.
Rogers was an avid reader and thus explorer of different worlds. “He stuck with a genre and created within it, then he stopped, Anita said. “He would travel, go to Chania, think about a new style, and he would change. He never copied – everything dad did was original.”
By Constantine S. Sirigos, The National Herald
December 30 – January 5, 2017 Issue
An Odyssey on View
Anita Rogers Gallery is proud to be currently 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.
On view now through December 30, “Odyssey” cannot be described as anything but a perfect, intimate look into the life and career of British painter Jack Martin Rogers. That’s because the exhibition’s host, Anita Rogers of Anita Rogers Gallery (New York City), witnessed first-hand her father’s inspiration as the family migrated across Europe.
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.
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.
October 19 – November 30, 2016
On view at Anita Rogers Gallery
A man can look at this little pile on his bureau for thirty years and never once see it. It is as invisible as his own hand. Once I saw it, however, the search became possible.
– Walker Percy, The Moviegoer
When I was a child I imprinted on Cezanne’s Bather at MOMA, just like those incubator-hatched goslings fixated on the wading boots of the Austrian ornithologist Konrad Lorenz in 1935. It was love at first sight as Lorenz brilliantly directed his babies into the lake for their very first swimming lesson. For me too, the image of that Cezanne was instantly and permanently engraved on my brain: a slender body with hands firmly grasped on his hips and two clumsy feet poised to move forward. Additionally, I detected an echo of my own face and head: skewed downward and resolutely self-righteous and I loved the young man’s expression of cagey dissent. That painting created a void in me the size of the universe. How to fill it?
Not much happens very fast for me and I’ve come to understand Ad Reinhardt’s guidance: study ten thousand paintings and walk ten thousand miles and make no allowances for haste or, for that matter, anything else because along the way the search does get harder and the road becomes strewn with potholes, dents, regrets and ruts. I’ll take the long view because let’s face it subsidized freedom is for bankers.
Simply put, I admire the stoic and splendidly solemn. I use premixed hardware store paint and a cut-and-build method: stacking and superimposing discarded cardboard just like laying bricks right on top of each other. These blunt marks, poured, cut, slow and shaped, look to me like emblems or bodies longing for life of their own. They need from me no more than to be fixed, pinned down and secured in space, even if occasionally by chance or luck. Vertical, standing, and poised they want to suggest a presence or body or the impression of a handshake or gesture, like the greeting of an old friend. Some of these recently completed works (some started in 2007) have been repainted, reassembled and hammered out over long periods of time. My hope is their insistent physicality makes a reasonable claim for taking up space and that their relentless self-editing gives them bodily restitution, compensating for their acute (absurd) stubbornness. Their meaning is fixed by their own autonomy: they are artifacts, set apart, self-sufficient, and speaking on their own terms. In my better moments I consider them to be visible traces of my hand, rooted in the real, the not-manipulated, and the not-over-parented. So my parting words to them as I deliver them into the world: be like geese, stay calm on the surface and paddle like hell below.
George Negroponte summer, 2016
Enjoy live traditional Greek music from 1940’s Greece along with plenty of Retsina, Greek food, and space to dance.
December 10-11, 2015
6:00pm – 2:00am
BAHS SoHo Loft
77 Mercer Street #2N
New York, NY 10012
Traditional Rebetiko: Anita Rogers is singing, Dimitris Mann plays the bouzouki, Beth Bahin Cohen plays the violin and Vasilis Kostas plays the guitar.
Μια μοναδικη βραδυα με Ρεμπέτικα και Σμυρνεικα τραγούδια σας περιμένει στις 10 Δεκεμβρίου 2015 στην “Ρεμπέτικη Ταβερνα”, πλαισιωμένη με άφθονη ρετσίνα και μεζεδακια. Με ζωντανή μουσική και τραγούδια του Τσιτσάνη, Βαμβακαρη και Παπαϊωάννου, που έχουν τραγουδηθεί από τις αξέχαστες φωνές της Μαρίκας Νίνου, της Ρόζας Εσκεναζυ και της Σωτηρίας Μπελλου, θα εντυπωσιαστειτε με την αμεσότητα και την απλότητα που περιέγραψαν την εποχή τους οι πατέρες του Ρεμπετικου.Οι Μερακλήδες σας περιμένουν
Anita Rogers: τραγουδι
Dimitris Mann: τρίχρονο μπουζουκι-τραγούδι
Vasilis Kostas: κιθάρα -τραγούδι
Beth Bahia Cohen: βιολί και κιθαρα
For more information visit British American Household Staffing