Tag Archives: News

Hamptons Art Hub’s NYC Gallery Scene Features Anita Rogers Gallery’s Winter Group Exhibition

Anita Rogers Gallery will present “Winter Group Exhibition,” showcasing works by Jan CunninghamGloria Ortiz-Hernández and Robert Szot, artists who are new to the gallery.

RS 005 False Flag-Anita-Rogers-GalleryThe exhibition will showcase drawings by Gloria Ortiz-Hernández, a Colombian artist whose work is included in the permanent collections of museums such as the Museum of Modern Art in New York and in private collections throughout the United States and in Switzerland, Brazil and Colombia. Robert Szot, an artist from Texas currently based in Brooklyn, will show collages and paintings. Jan Cunningham, an American artist, will show her “Arabesque Paintings” of 2016 and 2017, celebrating the materiality of color and light and juxtaposing the anticipated with the unexpected.

View on the gallery’s website.

View on HamptonsArtHub.com

Fine Art Connoisseur Reviews Jack Martin Rogers: Odyssey

An Odyssey on View

Andrew Webster

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.

Visit the gallery’s website.

View the full review on FineArtConnoisseur.comJMR 011

Jack Martin Rogers: Odyssey Featured on ArtDaily.Org

JMR 014NEW 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.

View the full post on ArtDaily.Org

View more about the exhibition on Anita Rogers Gallery’s website. 

Goop Interviews Anita Rogers: How a Staffing Agency Can Help

Anita Rogers, founder of household staffing agency British American, has more than a decade’s experience in pairing families with household staff, from nannies and butlers to personal assistants and estate managers. She’s earned a reputation for finding successful matches–and also for helping to handle any situation that may arise in the working household. Here, she shares her insights on why hiring for your childcare or home needs is profoundly personal, and how a staffing agency can help with the process.

A Q&A with Anita Rogers

Q: What are the upsides to using an agency?

A: An agency helps you determine what kind of help you really need, and devises the way in which you want your staff to fit your lifestyle. It also saves you time and keeps you safe during the interview process. Some families have limited experience interviewing and hiring childcare and household staff, which makes it easy to miss signs of danger, red flags, or dishonesty. We enforce strict standards as we interview thousands of candidates each year. This has allowed us—and other reputable agencies—to become experts at spotting dishonest references and to be able single out specific personality traits and potential challenges. A staffing agency has seen how similar traits have played out with other candidates, which lends to its ability to find the best fit for you, your family, and your household.

Read the full interview on Goop.com

BAHSGoop

Rounding the Corner: Joan Waltemath at Anita Rogers

Sharon Butler of Two Coats of Paint Interviews Joan Waltemath

In “Fecund Algorithms,” a solo exhibition of new paintings and diminutive sewn-canvas works, Joan Waltemath diverts gently from the quiet perfection of her previous work to embrace small accidents and contingencies. On view at Anita Rogers’s new light-filled second-floor gallery in Soho, Waltemath’s work looks exquisite in the elegantly appointed room, which boasts Greek columns and a long wall of oversized windows facing Mercer Street. Her pristine surfaces and cleanly delineated lines have become scruffier, less refined, and, arguably, more satisfying. A slightly less rigorous approach has yielded interesting insights about spontaneity, uncertainty, and impermanence.

In a conversation at the gallery, I asked the artist about the smudges, scrapes, corrections, and brush strokes that were visible on the surfaces. Waltemath shrugged, suggesting that she feels more comfortable than she used to in leaving residue and mistakes that reveal the process. Elements that she might have corrected or erased now strike her as telling records of the challenges and decisions most painters of geometric shape have to address, concealed or not. Even the tiny black and white pieces made of canvas scraps sewn together by utilitarian machine stitching have an offhand air that evidences Waltemath’s seasoned eye and hand. The painted lines and sewn pieces are not perfect, but here that’s a gift: within essentially mechanical forms, the quirky inconsistencies provide a frisson of humanity.

The paintings, Waltemath told me, also explore the mysteries of human interaction and memory. Lines and shapes painted in subtle ranges of white (impossible to apprehend in JPEG format) deftly organize and occupy the two-dimensional surface of her panels. Upon longer observation, they seem to move, advancing and receding, and creating three-dimensional forms with shifting spatial relationships. From this perspective, Waltemath sees an analogy in the way friendships and other alliances evolve, expanding, contracting, and sometimes reemerging over time. Certainly Waltemath’s new work artfully and unobtrusively, yet very assuredly, reveals its creator’s encounters, thoughtfully marrying content, form, and process.

View More on TwoCoatsOfPaint.Com

Joan Waltemath: Fecund Algorithms Featured in Wall Street International

Fecund Algorithms [at Anita Rogers Gallery] introduces a new collection of paintings in a range of unique materials including oil, graphite, and various metallic and florescent pigments on aluminum panels, many of which take years for the artist to complete. Titled with anagrammatic terms, the series Torso/ Roots grapples with the complex and inextricable relationships between the human body and the mind, the physical and the spiritual, and art, architecture and the natural world. The pieces, at once bold and rich with subtleties, are vertically structured and based on a grid derived from harmonic mathematical relationships. Due to the reflective and absorbent nature of the pigments the artist chooses, new details emerge from the works as they are viewed from different perspectives and at various times of day; in this way, every interaction with one of the panels is a new experience. The works demand a physical reaction from the viewer, keeping them consistently aware, awake and engaged.

View More on WSIMag.com

artnet Asks: Artist Joan Waltemath and the Secret Beauty in Math

Opening April 5 at Anita Rogers Gallery, “Fecund Algorithms” is the latest solo exhibition by Joan Waltemath. Grappling with the complex and often contradictory relationships between the body and mind, the artist’s abstract paintings look to mathematical equations for their harmonious and inventive grid-based compositions.

Waltemath is not only an artist, however: She is also known as an influential educator and a writer, having taught architecture for years at Cooper Union and serving as editor-at-large for the esteemed Brooklyn Rail since 2001. Here, she discusses her new work, the beauty in mathematics, and what to expect at her show.

What inspired you to create the Torso/Roots series?
I am intrigued watching people perform tasks they know by heart, observing movements that seem to stem from the corporeal, rather than being directed by the mind. I want to create something that speaks directly to the body that touches our movement in the way architecture does.  The more all our devices assert their dominance over the mode of our communications, the more compelled I feel to explore the multi-faceted nature of perception. How the body knows things, remembers a thing is my tabula rasa.

Read the full interview on artnet.com

Tristan Barlow and Hans Neleman

January 10 – February 11, 2017

 

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.

TB 001 Slip 2Barlow (b. 1990, Jackson, Mississippi) studied at the New York Studio School with Carole Robb and at the University of Southern Mississippi before receiving his MFA from the Slade School of Fine Art, London. The artist now lives and works in London. Barlow’s large-scale expressive works on linen are evocative explorations of spatial relationships, communication, color, shape and scale. On the recent works included in this exhibition, Barlow writes:

My paintings are visual fictions, constructs of spatial tensions.  Painting is a collection point for thoughts, personal philosophies, and abstract notions of what I perceive to be the world.  It is a physical process that involves an extensive relationship to heavy metals, newly synthesized pigments, and mysterious powders, and processes as old as the hills.  It is the internet and the Ancient Egyptians pulled tightly into a collection of marks that delineate a visual experience and image.  It is a space that exists on a surface and in space. Painting is a collection of paradoxes.

Through making a mark on a surface, scraping, scrubbing, destroying, and reconstructing, a painting becomes a fiction that requires a willing suspension of disbelief, a mythic narrative where the protagonist is a mark on a surface of the 2- dimensional picture place that holds infinite potential for visual spaces.  I don’t know if either of these notions are tangible or real as much as they are mysteries or half-truths that I believe out of choice and necessity.  I keep on the edges of truth and let the actions involved in painting become more imperative, more mythological in my mind.

Dutch-born photographer and artist, Neleman (b. 1960) studied Fine Art at Goldsmiths University in London. He holds a Bachelor’s Degree in HN 001 There Attempts Connecting HereFilm & Photography and a Master of Arts Degree from New York University. He studied with Robert Mapplethorpe, Duane Michals and Arnold Newman. Neleman’s collaged works, in the tradition of Joseph Cornell, are put forth in distressed iron frames housing astute composites of old and new, found and created objects addressing sexuality, mortality and identity. On the assemblages, Neleman states:

The assemblages explore taboos, erotic symbolism, morbid beauty and the harmony of opposites between mortal and vital, revered and profane, myth and modern tale. Found objects are re-appropriated and combined with layers of collaged and painted imagery, to create ‘portraits’ or ‘abstractions’ that aim to transfigure elements of darkness into an aesthetic realm.

Elements of myth always lie between perception and concept: they are signs. This perception—or, the image—is linked with something concrete, whereas the concept can refer to something else, and the potential metaphysical references are unlimited.  David Henry Thoreau stated: “The question is not what you look at, it is what you see.”

Tristan Barlow and Hans Neleman Featured in Wall Street International

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.

ArtCritical Pick: George Negroponte at Anita Rogers Gallery

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.

ERIC HOLZMAN