Tag Archives: Arts

Holly Hager Discusses Gloria Ortiz-Hernández’s Work in Art Zealous

Ask the Collector with Holly Hager

Collecting 101: Why Art? Part II

June 6, 2019 by Holly Hager

Crossings #1 and #2 by Gloria Ortiz-Hernández.

Now take a look at the very same room after the art has been replaced with minimalist drawings by Gloria Ortiz-Hernández. They radically change the ambiance. Now the space says, “Calm down, relax, and rest.” The luscious depth of these drawings is like visual Xanax. The roundness of the forms is soft and comforting. There’s movement in these works, too, but it’s a languid migration that lulls the mind. Contemplating them is like watching the petals of a flower open or tracking the moon across the sky. No matter that there’s still sun pouring in the windows, doesn’t this image make you want to climb into it, lay down on the couch, and take a nap?

Virva Hinnemo Receives Pollock-Krasner Foundation 2018-19 Artist Grant

The Pollock-Krasner Foundation announced today it has awarded $3,168,000 to 111 artists and 12 organizations during its 2018-2019 grant cycle. The 124 grants provided invaluable support to national and international artists and not-for-profit organizations. This year’s grantees and award recipients include artists from 18 states, Puerto Rico, and 17 countries. These grants provide critical professional support to artists around the globe, enabling them to create new work, offset living expenses, and prepare for exhibitions. The Foundation has also provided Emergency Relief Grants to artists affected by recent hurricanes and California wildfires. Since its inception in 1985, the Foundation has awarded more than 4,510 grants in 77 countries, for a total of nearly $74 million.

Visit anitarogersgallery.com to find out more.

Virva Hinnemo, Excavation, 2017, Acrylic on canvas, 44″ x 52″

Gloria Ortiz-Hernández Featured on Curatious as Holly’s Pick of the Week

Gloria Ortiz-HernÃ¡ndez Featured on Curatious as Holly's Pick of the Week

This week, my pick is for all of you minimalists. I usually skew toward color, but this pastel & charcoal drawing has such gorgeous velvety depths that I’m utterly seduced by it.

The simplicity of Ortiz-Hernández’s works are deceptive. Like poetry, they reveal themselves over time, slowly engulfing you in an ocean of meaning.

Made last year, most of these luscious works have already found homes. Get yours before they’re gone for good!

– Holly Hager, Founder of Curatious

The Red Hook Star-Revue on Morgan O’Hara

Morgan O'Hara in her studio. By Micah Rubin

Artist Morgan O’Hara in her studio. Photo by Micah Rubin

“It’s hard to know where to start with the artist Morgan O’Hara. Since the late 70s, she’s drawn over 4,000 pieces from everyday life — dinner with some lively Italians, a Noam Chomsky lecture, a Taiwanese Lion Dance performance — works she calls “Live Transmission.” On first approach, you’ll see a condense fog of scribbles or a soft web of lines so threadbare to looks like lace. But picking a line (any line!) and following its curve and density, its meetings with the velocity of its neighbors, there’s the sensation of a time warp back to the present that O’Hara had once so intently observed.”

For more information visit anitarogersgallery.com

Karen Wilkin on Jan Cunningham

Vasari 21: The Critical Edge

January 22, 2019

When an artist I’m interested in suggests something, I respond to that, sometimes to my benefit. Robert Taplin, whose work and writing I’ve followed for years, with enthusiasm, recently suggested I see a show by Jan Cunningham, a painter whose work I didn’t know. Turns out she makes subtle, inventively colored geometric abstractions that play different kinds of drawing against the memory of a grid. I’m very grateful to Robert for alerting me to her work and I hope to see more in the future.

– Karen Wilkin

Karen Wilkin is a New York-based critic, curator, and teacher, who writes regularly for The Wall Street Journal, The Hudson Review, and The New Criterion. Find out more by listening to this podcast interview with her here.

More Information at AnitaRogersGallery.com

Jan Cunningham. Yellow Triptych. 2018. Oil on linen. 60″ x 111″

Winter Group Exhibition Featured on ArtDaily.org

Anita Rogers Gallery Opens Group Exhibition of Work by Three Artists

NEW YORK, NY.- Anita Rogers Gallery presents a group exhibition of work by three artists: John Ashworth, Gordon Moore and Mark Webber. The gallery introduces John Ashworth to the gallery for the first time; Ashworth’s detailed acrylic paintings on paper, canvas and panel are rich in texture, detail and illuminated color. Moore’s works on photo emulsion paper explore depth, perspective, balance and asymmetry. Webber’s hydrocal and plaster sculptures recall architectural forms but are firmly sculpture; the works are defined by their elegant lines and careful balance. The exhibition is on view January 9 – February 2, 2019 at 15 Greene Street, Ground Floor, New York, NY 10013.
john-ashworth-anita-rogers-gallery
Born in New York in 1939, painter/sculptor John Ashworth began appreciating art at the age of 8 while visiting seminal institutions such as Metropolitan Museum of Art, The Museum of Modern Art, and Whitney Museum of American Art — as well as 57th Street galleries. Two years later, his own work hung — with that of artists many years his senior — at Washington Square Park. Exhibition attendees purchased all of his hundreds of folded, Rorschach-type blots in poster paint on typing paper pasted onto vertical scrolls. After moving to Massachusetts, where he graduated from high school in 1956, John pursued applied industrial physics at Wentworth Institute in Boston. From there, he majored in civil and structural engineering at Northeastern University and then attended Harvard University Graduate School of Design and, on scholarship, Boston’s School of the Museum of Fine Arts at Tufts.

Born in Cherokee, IA, Gordon Moore received his undergraduate degree from the University of Washington, Seattle in 1970 and then went on to receive his MFA from Yale University in 1972. He has received numerous awards and grants including the National Endowment for the Arts-Visual Artists Fellowship, the Louis Comfort Tiffany Foundation Award in Painting, the Adolph and Ester Gottlieb Foundation Award in Painting, the Academy Award in Art from the American Academy of Arts and Letters, Pollock Krasner Foundation Grant and the New York Foundation for the Arts Fellowship. Moore’s work can be seen in the collections of the Museum of Fine Arts (Boston, MA), Yale University Art Gallery (CT), Baltimore Museum of Art (MD), General Electric Corporation (OH), the Krannert Art Museum (IL) and Kinkead Pavilion (IL). Most recently, Moore’s work was shown in a major solo exhibition at the Salina Art Center in Kansas. The gallery will host a solo exhibition of work by the artist in February 2019.

Mark Webber resides in Sag Harbor, NY where he has worked as a cabinetmaker for many years. There he learned the craft of making objects and put in his time to develop that ability. Webber studied under Charles Ginnever and Peter Forakis at Windham College in Vermont. He received a BFA in sculpture at SUNY, Purchase. He has exhibited at many galleries in the Hamptons and is in several private collections on the East Coast.

View more on ArtDaily.org

CulturePass: A Conversation with Anita Rogers

Curator Caroline Spang sat down with Gallery Owner and Director, Anita Rogers, ahead of Taverna Rebetika, an annual celebration of Greek culture taking place Dec 1 at the Anita Rogers Gallery.

CP: How does your background and experience living in Greece influence the artists and work featured in the Anita Rogers Gallery?

AR: My parents held 1960s values. They were free spirits, educated and open humanitarians who valued folk culture. My father moved to Greece in 1962. The mentality and culture in 1980s Greece reflected 1960s Western Europe: unspoiled and carefree. This was a time when the art world had more universal meaning and depth – before the mass market idea had really taken over. My values are rooted in this time and these memories.

I approach the gallery from an artist’s point of view as I was raised by an artist who understood art as something that was in search of truth, searching to understand what it means to be human, exploring that which connects us deeply as humans, almost approaching the metaphysical but while staying rooted in the human experience and truth. This shaped my values and approach to running a gallery in NYC. I choose artists whose visual abilities are exceptional and whose aesthetic approach and philosophical ideas are in line with the beliefs I described and in line with the values that were held, as I remember them, pre-mass media and before the contemporary art scene became more of a mockery and the overblown financial marketplace that it is now.

CP: What is your process of selecting artists to work with?

AR: I can tell very quickly when I look at the work in person. I judge by looking at the work and engaging with it. The work will speak for itself. Finding artists good enough is the most challenging part of running the gallery. There has been a culture of “anything can be art” for some time. This lack of discernment results in having to wade through so much work to even start to find potential fits for us. We are only interested in art we feel has the right essence—that which will withstand the test of time. We call ourselves “incubators.”

Tristan Barlow Interviewed by Young Space

October 16, 2018

Young Space: What ideas are you exploring in your practice?

Tristan Barlow: My paintings are a mix of ideas that have built up over the years. I have a very strong relationship to art history, old Italian masters of the quattrocento, and the romanticism of ideas concerning space, ruminations of old teachers that have bounced around in my head and turned themselves into mythology. Though my paintings are, for the most part, “abstract,” I think of them more as an arena of spatial possibilities where the confluence of ideas is transformed into a visual language of symbols. Mark-making, layers, pigment, and a willing suspension of disbelief concerning the impossibilities of space lends itself to a world of visual fictions.

YS: What is your process like?

TB: I work with oil paint and that affords a plethora of possibilities. I experiment often in my application of paint. I edit, scrub, scrape, layer, etc…

Visually, my process is a filtering of ideas and notions from all sorts of sources. The idea of a mirrored image and Narcissus can send me through 20 paintings. So can a trip to the British museum or the light from a beach in Florida. Or what it would be like if Botecelli were to make a whole painting of grass and flowers? What if the Ancient Egyptians had internet?

YS: Do you have a mentor, or a piece of advice (or both), which has influenced your practice?

TB: My first professor in Mississippi, who I must give a lot of credit to, told me, “Son, in this business you gotta fish or cut bait.” That, inexplicably, has come back to mind many a time.

Access the full article on AnitaRogersGallery.com

Anita Rogers Named to the Jury of The National Association of Women Artists’ 129th Annual Exhibition

195 Chrystie Street Gallery, NYC (Lower East Side), Location of the 129th Annual Members’ Exhibition.

The National Association of Women Artists is honored to present its 129th Annual Members’ Exhibition, a show of paintings, works on paper, sculpture, mixed media, photography, and collage by established member artists. This year, the exhibit will be held at 195 Chrystie Street in the artistic heart of New York’s Lower East Side. For two weeks, members’ artworks will be on displayed 7 days of the week, just a heartbeat away from the New Museum of Contemporary Art, the International Center for Photography, the celebrated Tenement Museum and many other galleries and restaurants ideal for the gallery-going public.

The Annual Member’s Exhibition continues NAWA’s long history of nurturing and inspiring talented, visionary and dynamic women artists from throughout the United States. NAWA was founded in 1889 by five brave and innovative women who were barred from full participation in the male-dominated National Academy of Design and the Society of American Artists. Early exhibitions included works by Mary Cassatt, Suzanne Valadon among others and as the roster grew, Gertrude Vanderbilt Whitney, Louise Nevelson and Alice Neel became noted member luminaries. NAWA’s existence is a testament to the integral and essential role of women in the art world. NAWA’s president, Jill Cliffer Baratta, will be hosting the opening reception and award ceremony from 6:00 – 9:00 pm. on Thursday, October 11, 2018, with over $10,000 in awards.

This year’s lineup of jurors is an impressive one—a distinguished painter-writer-teacher, a SoHo gallery owner and a senior curator for the Brooklyn Museum.

Image result for The National Association of Women Artists' 129th Annual Exhibition

Visit AnitaRogersGallery.com for more information.

Summer Group Exhibition I Featured on ArtDaily.org

Exhibition of drawings by Jack Martin Rogers and sculpture by Mark Webber opens at Anita Rogers Gallery

June 10, 2018

NEW YORK, NY.- Anita Rogers Gallery is presenting Summer Group Exhibition I featuring drawings by Jack Martin Rogers and sculpture by Mark Webber. The exhibition is on view June 6 – July 14 at 15 Greene Street in SoHo, New York.

Jack Martin Rogers was born in Warwic MW 004 kshire, UK in 1945. He studied anatomy and fine art at the Birmingham School of Art. He moved to the island of Crete in Greece in 1962, which is when he began painting his most prolific work. Rogers went through many stylistic periods, ranging from fully figurative to abstract. He died in 2001, leaving behind an extraordinary body of work. Seventy-five percent of his estate is owned by his daughter, Anita Rogers.
“Texture, composition, simplicity, and an organic element are all part of my exploration. What unfolds off the wall and/or into space must be aesthetically pleasing and embrace silence after all the work has been done. My materials all come from materials being used in modern homes.” – Mark Webber

Mark Webber’s sculpture from his prolonged series “Structures: Walls: Portals and Vessels” explore qualities related to architecture, but are firmly sculpture. The conceptual line that divides the two, especially as manifested in “emotional architecture” as described by Mexican architect Luis Barragan, is always at play with his sculpture.

In another series “Structures: Vessels,” Webber moves away from the simplicity of the rectangle as a building plane in space and embraces a similar conceptual line in the curves found in naval architecture. With vessels, he explores what can hold space, open and closed, while referencing what defines the canoe/kayak form in sculpture.

Webber resides in Sag Harbor, NY where he has worked as a cabinetmaker for many years. There he learned the craft of making objects and put in his time to develop that ability. Webber studied under Charles Ginnever and Peter Forakis at Windham College in Vermont. He received a BFA in sculpture at SUNY, Purchase. He has exhibited at many galleries in the Hamptons and is in several private collections on the East Coast.

More Information at anitarogersgallery.com

Anita Rogers

Founder of Anita Rogers Gallery, British American Household Staffing, and British American Talent Management