James Scott’s Summer Streaming continues with the following schedule:
July 6 – 12: The Great Ice Cream Robbery (1971) 40 mins
July 13 – 19: Coilin and Platonida (1976) 80 mins
July 20 – 26: Nightcleaners (1975) 90 mins
July 27 – August 2: ’36 to ’77 (1978) 85 mins
August 3 – 9: Fragments (2019) 43 mins
To view any of the films in the summer’s rotating schedule, go to https://vimeo.com/404435215/27ac239848.
In The Great Ice Cream Robbery (1971), which was proposed to the Arts Council as a two-screen film, the idea was to mirror the language and philosophy of Oldenburg towards temporality and ephemerality in the nature of the work: happenings, soft materials, impermanence. With two 16mm projectors and separate sound systems, its form of presentation would insure the potential of change every time the film was shown. Sadly, it meant that over the years, the film was rarely screened except by risk-averse and totally dedicated curators. Now for the first time in the digital age, it is actually possible to see this as a two-screen presentation as close as possible to how it was originally intended to be seen. We suggest using headphones or a stereo sound system for viewing.
As we were editing The Great Ice Cream Robbery, I also started to work with my friend Marc Karlin on a political documentary about janitors (mostly immigrant women of colour and Irish women) who worked through the night, cleaning office buildings. Little did we realize that we had embarked on a five-year project. We were joined by Humphry Trevelyan and Mary Kelly and called ourselves the Berwick Street Film Collective. Nightcleaners came out in 1975 at the Edinburgh Film Festival.
After the intensity of Nightcleaners, I wanted to move to a completely different kind of film and in 1975 began Coilin and Platonida for German television. This was to be a silent narrative film set in a remote part of Ireland at the turn of the century and based on a Russian short story by Leskov. I had come across the story in Walter Benjamin’s essay on storytelling. This essay very much influenced my filmic approach using 8mm refilmed to 16mm. I found local non-professionals to play the parts as well as using my two young children.
Upon completing Coilin and Platonida, Marc drew me back once more into the Nightcleaners story. It had been a struggle without an end. The victory strike at the Ministry of Defense had come too late to be included in ‘Part 1’ and so the new film, ‘36 to ‘77 (1978) was to take this victory, and through the eyes of Myrtle, one of the janitors, look back on the campaign and reflect on how it had changed her life.
We end up with my last film Fragments, which in some ways connects to the first art film with David Hockney, Love’s Presentation. Fragments is a film about the painter Derek Boshier preparing for a new exhibition. Both Love’s Presentation and Fragments are films about process, but separated by over 50 years. Derek and David first met at the Royal College of Art and remain friends to this day. Both started as ‘pop’ artists and then followed very different trajectories.
Fragments was completed at the end of last year and premiered in January 2020 at the Rotterdam International Film Festival.
– James Scott
Anita Rogers Gallery is proud to present a selection of works on paper by British artist Jack Martin Rogers (1943-2001). Anita Rogers, the owner of the gallery, is the daughter of the artist and now owns seventy-five percent of his estate. This will be the artist’s second major solo exhibition in the U.S. and the first to highlight the artist’s creative process and the centrality of drawing in his practice. The show will debut online in April 2020 and continue in the gallery when we are able to reopen.
The collection features a selection of preparatory drawings, never before seen by the public, that reveal Rogers’ immense dedication to observation and detail. The artist studied anatomy and fine art at the Birmingham School of Art in the UK, often dissecting and sketching bodies of the deceased to learn how to better illustrate the human form. While in school, his meticulous methods took root and they remained at the heart of his work for the rest of his life.
In conjunction with the show, the gallery has released a digital catalog highlighting over thirty works by the artist, the majority of which have never before been seen by the public. Download the digital catalog here.
On April 8, 2020, the Board of Trustees of the John Simon Guggenheim Memorial Foundation approved the awarding of Guggenheim Fellowships to a diverse group of 175 scholars, artists, and writers. Appointed on the basis of prior achievement and exceptional promise, the successful candidates were chosen from a group of almost 3,000 applicants in the Foundation’s ninety-sixth competition.
Born in Iowa and raised in Kansas, Gordon Moore began painting pictures at the age of 6 and has never stopped. Being a product of the Great Plains the dominant thematic in his work has long been informed by that experience and that environment and can be defined to this day quite simply as: Space. The creation of which, in an abstract Painting and Drawing idiom, is the fuel which drives his imagination. After finishing the Academic requirements of a formal education in Art, first at the University of Washington in Seattle and then at Yale in New Haven, he moved to the TRUE University of Art and Life In 1972: New York City, where he has lived ever since. In the ensuing years Moore’ work has developed an interest in a refined clarity of edge vaguely redolent of Architectonic space as well as fragments of shapes found from the street experience, most notably – the Bowery, close to which he has lived for nearly half a Century. His work has been most often shown in one-person showings since 2000 and he has received a number of awards and fellowships.
Art galleries provide necessary spaces for creative discovery and connection—experiences we all may be seeking in our current existences. Luckily, many galleries across the country can still be visited virtually, and at your work-from-home leisure through Artnet Galleries.
If you’re in need of an art break, here are 13 of our favorite exhibitions, from New York to California, that you can gallery hop through your laptop.
2. “Mark Webber: We Shall Be City Upon a Hill” at Anita Rogers Gallery, New York
Time: All day, every day
The enigmatic genius of Emily Dickinson has been studied for over a century, yet she remains a beguiling literary and literal conundrum. Part mystic, part heretic, she wrote in metaphor with aching clarity. Dickinson envisioned the mind and spiritless as concepts than as actual places; she feigned conventionality in her dress and manner yet was an early feminist, and her use of language and grammar upended literary convention. She questioned faith, morality, pain, and ecstasy. A botany aficionado and gardener, the poet also assembled an herbarium of 424 flowers, now residing at the Harvard Houghton Rare Book Library. Her posthumous success revealed Dickinson to be one of the great modernist voices in American poetry.
Consummate Plush is a response to Dickinson’s quiet yet radical oeuvre, her flexible use of structure, and the depth of her self-inquiry. Judith Page’s veiled figures and Daniel Wiener’s fantastical motifs possess vestiges of the Gothic, touching on Dickinson’s plastic sense of identity and mortality. Christa Maiwald’s embroidered images recall the stitched bundles of poetry found in Dickinson’s bureau after her death. Lucy Winton and Charles Yuen share a sense of the dreamscape – places where the chimerical exists alongside this-ness and otherness. Virva Hinnemo’s use of gesture and spatial depth transport us to an environment in which writing and imagery coexist. Bonnie Rychlak’s subversive drains offer both a sense of escape and reflection, and Linda Miller’s examinations of organic form elude to abstract figuration and the monumental. For George Negroponte, an incisive use of pastiche and tight, visual reciprocity conjures Dickinson’s startling poetic structure. In Laurie Lambrecht’s embroidered, photographic images, it is the poet’s genteel life in the botanical that confers a sense of natural wonder, order, and reverence.
Join curator Janet Goleas and selected artists on Saturday, March 28th from 10:00 AM – 12:00 PM for a gallery breakfast and discussion, sponsored by the Patchogue Medford Library.
THE ONLY LIVING BOY IN NEW YORK
Picasso created his first version of Guitar sometime between October and November of 1912 and in that moment toppled the most fundamental and timeless rule of sculpture: solidness. Guitar consists of 7 pieces of cardboard stitched together with thread, string, twine, and coated wire. This work was likely slapped together in a flash and under the intoxicating sway of a first encounter. Picasso applied the ideas he and Braque had advanced about cubism and collage to an assemblage beautifully visualized in space. The yolk of the egg was broken, and the omelet was born.
Mark Webber assembles many different elements: hand-made, man-made, or found, in striking relationships using steel, stone, wood, glass, and hydrocal. He forges ahead with his visual fragments like a tireless explorer instinctively negotiating and shifting gears in search of surprising places. His images ooze rustic constructivism like a Joaquín Torres-García wood sculpture from 1930 brought up to code. Webber straightforwardly identifies his works in groupings with very simple designations such as structures, walls, portals, and vessels. But a preconscious sparkle also animates his images with anthropomorphic prompts and body language that simulate common gestures like a handshake or a greeting. Encounters between friends.
Some of Webber’s sculptures bring together parts or pieces that are curious and tantalizingly difficult. It is not hard to spot a cheeky calculation when a rock is bluntly attached to an L-shaped stucco form with a flat metal bracket that is reminiscent of a deadpan, take-a-hike Buster Keaton routine. In reality, the overall take from Webber’s work is elegiac: a solemn wink, a desolate location, and all in the service of commemorating another time and place. While some artists acknowledge the past with subtle pictorial nods, Webber firmly grounds history in the here and now, not unlike Giorgio de Chirico’s metaphysical images of empty cityscapes and piazzas. Let’s face it: Webber demolishes the present.
The best work of Webber is stoic and evokes an otherworldliness captured, set apart and isolated. His means are cloaked in quiet. Webber graciously spares us the nonsense of nostalgia by fusing fact and fiction, material and message, and a compelling amount of living human quotient. In a cluster, his sculptures create a diaspora of figures vying for attention but clearly performing in unison; collectively they create a timeless model of behavior and comportment. Peter Schjeldahl in his recent article “The Art of Dying” eloquently writes:
I like to say that contemporary art consists of all artworks, five thousand years or five minutes old that physically exist in the present. We look at them with contemporary eyes, the only kinds of eyes that there ever are.
Mark Webber is driven by a belief in the making of sculpture that is endangered. Today art arrives pre-packaged and with a mandatory “identity” meant as “admission” into the club. Gone is the hard-won effort to break free and gain true independence from the slavery of acceptance. Webber defies the odds. His work moves like lava from the mouth of a volcano: slow, deliberate, and mysterious.
– George Negroponte
It is neither too difficult nor unreasonable, at this particular moment in time, to imagine a dramatic or catastrophic shift in our landscape that shuttles us into a new epoch. But what is left over after the event and who finds what is left?—Broken foundations, pieces of larger structures that no longer exist, colors stripped or faded away. Just like that, a new antiquity is formed. When looking at Mark Webber’s sculptures, which often take form as objects made from interlocking shapes, there is a sense that the parts which comprise the work are made from pieces of greater structures, a vision of what is left. Webber makes use of a combination of hand sculpted and ready-made, found materials to build his monochrome, architectural constructions (Webber sites Luis Barragan’s Emotional Architecture as an influence). His minimal formations often make use of hydrocal—a mixture of plaster and cement which appears almost like ceramic or stone—-as primary material which he then mingles or fastens with glass, wood, steel and sometimes string. The white sculptures lend a cycladic air. His studio which is so heavily populated by the work, appears like a small, dream-like city, a visible nod to Atelier Brancusi.
Webber’s sculptures are just as gestural as they are structural; there is a push and pull between calculation and happenstance. In them an, intrinsic harmony exists—like pieces from varying puzzles that have somehow slipped (or wedged) into peaceful accord. In Webber’s sculptures, modernism’s sharp, clean edges and hard angled forms have been blunted and weathered as if by the elements. (Webber is a devoted sailor and paddler and a nautical note is present).
It is compelling to consider Webber’s background as a cabinet maker and furniture designer in relation to his art objects which visibly share some lineage with functional design. While Webber’s sculptures lend an air of function, as viewers, we are not able to gather what that function might be, and that is not the point.
– Eliza Callahan
The work of Mark Webber, an artist based in New York City and Sag Harbor, will be featured in “We Shall Be A City Upon A Hill,” an exhibition running February 12 to March 14, at Anita Rogers Gallery in Manhattan.
Webber has been steeped in visual art his entire life. Growing up in a house filled with world-class art (his mother was on the Acquisition Committee of MoMA), he was inspired by the Miro, Henry Moore and Jim Dine work on the walls and went on to study art at Banff, Windham College, earning a BFA from SUNY Purchase.
In addition to painting, sculpting and drawing, Webber is also an accomplished furniture designer and woodworker, sailor and paddler. When he is not in the studio, he is drawing further inspiration from being on the water.
“I take traditionally static forms such as rectangles, ellipse and lines and uncover subtle subtexts such as intimacy, separation and balance,” said Webber in a statement. “The viewer is welcomed to draw their own conclusions about how a piece stands, supports itself, engages in a dialogue with the materials used. Whether it is the process or the materials, each piece finds a balance through gravity and composition.”
Anita Rogers Gallery is located at 15 Greene Street in New York’s SoHo neighborhood. The show opens with a reception on Wednesday, February 12, from 6 to 8 p.m. For more information visit anitarogersgallery.com.