Tag Archives: Art Gallery

Anas Albraehe featured in Squarekufic

Installation photo of Anas Albraehe: The Dreamer (2022) at 494 Greenwich Street, New York. Photo: Jon-Paul Rodriguez

The contemporary Syrian artist Anas Al Braehe is famous for his series of paintings depicting sleeping refugees. In his paintings, the refugees appear safe, warm, and protected, if only momentarily, from the worries and problems of everyday life. If you are in NYC, you can visit his solo exhibition at the Anita Rogers Gallery.

The Tribeca Trib Highlights Anas Albraehe

Work by Syrian Painter Anas Albraehe’s portraits of sleeping laborers and refugees sets his dreamers amid vivid and bold colors, a sharp contrast with their temporary state of escape from the sufferings of everyday life. At Anita Rogers Gallery, 494 Greenwich St., June 29–August 27. Reception: Wed., June 29, 6-8pm.

View more on TribecaTrib.com

View on AnitaRogersGallery.com

James Scott’s Tribute to Claes Oldenburg

Summer is for slowing down and making time for things both old and new…

It was with much sadness that I heard about the passing of Claes Oldenburg last week. Many summers ago I filmed my dual screen film, The Great Ice Cream Robbery, which documents Oldenburg’s installation of his solo retrospective at the Tate in 1970. Using the complex interplay between the two screens, the film shows the juxtaposition of an artist who is both playful and hard at work.

To mark Oldenburg’s passing, I am making the dual screen version of the film available for viewing until August 2nd.

Watch the film here: https://vimeopro.com/user3582856/tribute-to-claes-oldenburg

While temperatures heat up outside, I am trying to stay cool by sitting in a dark editing room and working diligently to complete my new film Elements of a Journey: Antoni Tàpies, a documentary about the life of Catalan artist Antoni Tàpies. Here is a link to the trailer: https://vimeo.com/674640431

This film was started in 1974, just a couple years after completing The Great Ice Cream Robbery, making my current film both something old and something new.

While I am in the final phases of the film, we are still in need of raising more completion funds to cover the cost of all the rich and wonderful archival materials.

Any leads on finishing funds are greatly appreciated! Feel free to reach out to me at scottart@roadrunner.com. Those who have worked on large scale projects know, the fundraising is not complete even after the final touches are put on a project.

View James Scott’s film.

View on AnitaRogersGallery.com

Artist Spotlight: The Story of Anas Al Braehe

Al Suwayda, Syria, is where the artist was born in 1991… By the time Al Braehe was old enough to be accepted into his undergraduate program at the University of Fine Arts of Damascus, the university had expanded its campus and built a branch in Al Suwayda… it was in the contained environment of his village in Al Suwayda that he proceeded to practice his painting. It was by virtue of the artist’s development in that precise habitat, that the work was able to translate the talent in its authenticity and in accompaniment of cultural values inherited by the artist from his indigenous Druze surrounding. In an article published by the Atassi Arts and Culture Foundation, which focuses on Syrian artists, the artist is asked about his thoughts on critics comparing his work to the French impressionists, most notably Henri Matisse and Paul Gauguin. Al Braehe shares that he is flattered by these comments and that perhaps it is the common affinity towards nature in both his and the impressionists’ works, that ushers the critics to say so. He adds that he had been painting, long before he had access to the Internet and discovered who these maestros are.

Al Braehe unconsciously gives elements of nature their own character in his paintings….he saw in nature something that he wanted to share. But that desire, he says, started indoors and not outdoors. Al Braehe’s mother was a seamstress for the village. While he was not allowed into the fitting rooms where his mother would dress the women, a young Al Braehe hid under the table and watched as colorful fabric unfolded. He gathered colorful woolen threads from his mother’s studio and placed them side by side in the quest to find the most sight-provoking color combinations. This was at the root of his studies in coloring and soon enough, as he describes, everyone saw trees to be green and he knew that they were much more than one color. The artist explains that there is a reason why his coloring looks patchy, almost like a pattern sown on fabric.

By Mira El-Khalil

Read the full piece on Mira El-Khalil’s website.

View on AnitaRogersGallery.com

Selections Arts Highlights Anas Albraehe

Installation shot of Anas Albraehe: The Dreamer (2022) at 474 Greenwich Street in NYC

Since we were born, we have never celebrated, we only survived, hoped and dreamed.

Stop the injustice until we wake up

Even though we are asleep, but we’re not well

We are the people of the world

– Anas Albraehe

View more on SelectionArts.com

View on AnitaRogersGallery.com

Hyperallergic Features Albraehe: The Dreamer

When: through August 27
Where: Anita Rogers Gallery (494 Greenwich Street, Tribeca, Manhattan)

Syrian painter Anas Albraehe places marginalized men in compromising positions. The laborers and refugees in his expressionist paintings appear asleep in random public spaces, speaking to the layers of fatigue and exposure that stem from immigration. Bringing the styles of Matisse and Gauguin into landscapes from the artist’s current hometown of Beirut, The Dreamer visualizes the migrant experience of lying in wait for something unknown and unguaranteed.

By Billy Anania

View full list on Hyperallergic.com

View on AnitaRogersGallery.com

Musée Magazine Reviews Yishay Garbasz

“…Only in the mirror inside you can you see outside of yourself,” says British- Israeli artist Yishay Garbasz, holding up this mirror through her career-spanning investigations of trauma, womanhood, and identity. Many artists base their works on victims of “marginalized identity,” a subject that often produces powerful and evocative artwork. Women’s Art Doesn’t End at the Outer Labia is Garbasz’s photographic ode to“marginalized identity” in all its conceptual forms. Garbasz confronts taboos of trauma, memory, and identity—using herself and her past and the locations of historic tragedies as subjects—presenting them boldly with sincerity.

Much of Garbasz’s work focuses on reconceptualizing trauma. “Seeing who I am is only the beginning of my growth as an artist, as my identity has been forged by the trauma I inherited from my mother and her experiences in the Holocaust,” Garbasz says. The continuous narrative of her photography is the multigenerational impact of trauma; her pieces infused with memories of events that she or the viewer may not have experienced firsthand, but that continue to dwell in places and minds—her works a study of these moments’ longitude.

Included in this cross section of her works are pieces pulled from Bearing Witness, a series of projects in which Garbasz captured the aftermath of immense or historic tragedy. This includes Fukushima Prefectural Ono Hospital (2013), a still of an empty hospital taken two years after Japan’s Fukushima Prefecture was devastated by failure of three nuclear reactors. Her landscapes are devoid of life yet somehow buzz with the ghostly imprint of humanity. Garbasz wields memories into tangible subjects, requiring of her viewers a certain patience and care to fully understand the depth of her works.

Emotional disturbance comes first in the layered process of appreciating her works. Viewers can sense the melancholia, the strength of memories. Pieces like Footsteps (40) from In My Mother’s Footsteps (2004-2009) beckon the viewer alongside Garbasz as she traces her mother’s life during the Holocaust. By viewing places from her mother’s harrowing life, viewers are pulled deeper into an exploration of Garbasz evoking true humanity and sincerity. Even without a context of historic events, Garbasz’s works hold the power of memory and emotion. Eat Me Damien (2011) displays Garbasz’s own testicles, preserved in formaldehyde after her gender affirmation surgery. Garbasz invites viewers to experience the deeply personal images that contribute to her identity and memories, to work harder to fully understand her.

Garbasz continues conceptualizing what is “inside” both herself and others. In displaying this variety of photographs together, the message of each collection transforms into a more contemporary idea of identity. She affords the same care and personalization to a still landscape as she does some of her most vulnerable memories. The intertwining of the two suggests that lasting impacts of trauma and memory continue, even in conditions where life’s vibrancy has stopped.

Women’s Art Doesn’t End at the Outer Labia will be on display at Anita Rogers Gallery, 494 Greenwich Street Ground Floor, New York City, through June 18. Visit their website for more information.

By Nikkala Kovacevic

View more on MuseeMagazine.com

View on AnitaRogersGallery.com

Fine Art Miracles Names Garbasz Artist of The Week

For the month of June, FAM’s Artist Spotlight Series will be celebrating Pride Month!  Our featured artist of the week is Yishay Garbasz. Yishay is a Berlin based trans woman artist whose multidisciplinary work includes photography, film, and installation.  She explores topics such as memory, trauma, marginalization, gender, intersectionality, and neo-fascism.

Yishay has worked with communities affected by war and has experienced disability, abuse, and trauma. She refers to trauma, disability, and other marginalizing attributes as invisible, because unless one is experiencing them, they tend not to see or acknowledge them.  She centers the voices of the marginalized in order to make the invisible visible.

Yishay recently worked on a smaller, more personal project to help a friend during hard times.  She painted the words “I am loved” in reverse on a shirt, so that when her friend looked in the mirror, she would be able to see herself and the message and know she was loved. Yishay’s work covers so many important topics, and I encourage you to learn more about her. Please also know that you are loved, and don’t forget to check back all month for more Pride Month Artist Spotlights!

By Christine Snyder

Pictured above: Yishay Garbasz, Footsteps (48) from In My Mother’s Footsteps, 2004-2009, C-print, 32 7/8″ x 54 3/4″

View more on FineArtMiracles.com

View on AnitaRogersGallery.com

Womenly Magazine Reviews Garbasz

Yishay Garbasz is a Berlin-based interdisciplinary artist whose work, for over two decades, has explored the “cultural specific inheritance of traumatic memories.” We visited her most recent exhibition, Women’s Art Doesn’t End at The Outer Labia, at Anita Rogers Gallery in NYC upon its opening in May. The exhibition explores geographical sites left in the wake of war, terror, and significant moments in her life during some of the darkest parts of history. Images of Japan’s Fukushima Prefecture, the site of the second most catastrophic nuclear disaster in history (second only to Chernobyl), and moments from her mother’s lived experience during the holocaust both appear across the gallery walls.

Meeting Garbasz for the first time leaves you with a certainty that her work is derived from somewhere profound and brave. In 2010, her exhibition Becoming appeared at The Busan Biennale in Busan, South Korea. Described as a straightforward look at gender affirmation and the gaze on transgender identity in our society; from language to body image and making early fashion choices.

Women’s Art Doesn’t End at The Outer Labia portrays the real intimacy of the human body and the physical space it takes up. The combination is her work. A lesson in symbiosis.  Eat Me Damien, a piece on display at the very front of the gallery, displays Garbasz’s testicles, removed during a gender affirmation surgery and preserved in formaldehyde. An opposite wall holds a larger than life barbed-vagina, which Garbasz spent long hours installing in the gallery just days prior to the opening.

The exhibit creates heavy moments for the viewer, challenging you to place yourself in these dark moments. Breathing them in as you dare to see further into what they represent. Provoking strong emotional reactions whether they’re intended by the artist or not. Her work challenges us to see humanity for what it is. Even when we have our own ideas of what people, places, and events represent throughout time. Women’s Art Doesn’t End at The Outer Labia feels deeply personal. Emitting the pain and raw energy that can be marginally felt within her photography and installations.

Women’s Art Doesn’t End at The Outer Labia is on display at Anita Rogers Gallery at 494 Greenwich Street until June 18, 2022.

By Attia Taylor

Pictured above: Yishay Garbasz, Untitled Vagina, 2022, Barbed wire and Razor Wire, 113″ x 69″ x 15″

View more on WomanlyMag.com

View on AnitaRogersGallery.com

William Scott on View at the Barbican

A revelatory new take on art in Britain after the Second World War, a period when artists had to make sense of an entirely altered world.

Postwar Modern explores the art produced in Britain in the wake of a cataclysmic war. Certainty was gone, and the aftershocks continued, but there was also hope for a better tomorrow. These conditions gave rise to an incredible richness of imagery, forms and materials in the years that followed.

Focusing on ‘the new’, Postwar Modern features 48 artists and around 200 works of painting, sculpture, photography, collage and installation. It explores the subjects that most preoccupied artists, among them the body, the post-atomic condition, the Blitzed streetscape, private relationships and imagined future horizons. As well as reconsidering well-known figures, the exhibition foregrounds artists who came to Britain as refugees from Nazism or as migrants from a crumbling empire, in addition to female artists who have tended to be overlooked.

Morning in Mykonos, 1960-61 is one of five works by William Scott which can be seen at the exhibition.

By Postwar Modern New Art in Britain 1945-1965

Pictured above: Morning in Mykonos, 1960-61 © Copyright William Scott Estate. Courtesy of William Scott Foundation.

View more on Barbican.org.uk

View on AnitaRogersGallery.com