Tag Archives: Arts

Works on Paper: Drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath

It all goes back to drawing. – Gordon Moore

Anita Rogers Gallery presents Works on Paper, an exhibition of drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath. The exhibition will be on view October 11 – November 11, 2017 at the gallery’s new location at 15 Greene Street, Ground Floor in SoHo, New York. There will be an opening reception on Wednesday, October 11, 6-8pm.

Collectively, the works in the exhibition reflect on the intimate nature of drawing. The pieces allow the viewer to engage with the artists and their processes in an exceptionally close manner. The show aims to celebrate drawing as not only fundamental to the artist’s practice but as a primary form of artistic communication.

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Moore works in an innovative way; the grounds for his drawings are sheets of developed photo emulsion paper. He then draws on top of and in response to the elements present in the paper. There is an unusual depth to the final pieces – they challenge the viewers’ natural perceptions. Moore (b. 1947, Iowa) has pieces 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).

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Negroponte will exhibit a series of drawings spanning from 1996 to 2016, each constructed from several pieces of paper, painted, cut and then placed back together in different configurations. On this work, Negroponte states, “Primacy counts more than anything right now. I want to get down to the barest essence: discarding the object for a trace or glimpse of it residing in the weight of each mark or shape.” Negroponte (b. 1953, New York) has work in the collections of the Harvard University Art Museum and The Metropolitan Museum of Art.

Waltemath makes mindful drawings; they are studies for her Torso/Roots series of paintings and will be on view unframed. Like her paintings they are based on a grid derived from harmonic mathematical relationships but, here, the handmade paper acts as both the ground and frame for the grid.  Its presence is as prominent and powerful as her paint. At once lush and subtle, her works on paper are delicate glimpses into her process. Waltemath (b. 1953, Nebraska) is in the collections of the Museum of Modern Art, the National Gallery of Art, the Hammer Museum and the Harvard University Art Museum.

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Gloria Ortiz-Hernández at the Morgan Library and Museum

Gloria Ortiz-Hernández’s Plate/Shift #10 (2006, Graphite pencil, charcoal powder, and pigment on wove paper, 22″ x 22″) is currently on view at the Morgan Library and Museum in New York City. The piece is part of the museum’s permanent collection. Gift of Sally and Howard Lepow.

Notes from the museum: plateshift10

In 1998, Gloria Ortiz-Hernandez gave up the brightly colored figurative paintings that she had been doing for years and began drawing simple geometric forms. Like many of these drawings, Plate/Shift #10 belongs to a series in which the artist explores different combinations of a similar composition. Made of numerous layers of almost imperceptible strokes the subtle gradation from dark to light suggests volume and depth, and gives this deceptively simple composition a great tactile beauty. The drawing is typical of Ortiz-Hernandez’s work in its fusion of a minimalist aesthetic with an exquisite sense of refinement.

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Anita Rogers Gallery in Southampton, NY in Collaboration with Laviano Design Studio

Works by Virva Hinemo, Gordon Moore, George Negroponte and Kazimira Rachfal are on view at 77 Jobs Lane, Southampton, NY through October 1 in collaboration with Laviano Design Studio.

View more on the gallery’s website: http://www.anitarogersgallery.com/

More information on Laviano Design Studio: https://www.lavianodesignstudio.com/

Making and Looking at Art May Reduce Depression and Doctor Visits, Report Suggests

We all know that art can change your life, but what about helping to save it? A new report has found evidence that the arts bring a wide range of health benefits, speeding medical recoveries and improving overall quality of life. Released last week in the U.K., “Creative Health: The Arts for Health and Wellbeing” details numerous instances where the arts offered medical improvements for those of every age. That includes art therapy (which reduced agitation in those with dementia) and music (lullabies were seen to calm the heart, lessening the hospital stays for newborn children in neonatal intensive care).

Read the full post on Artsy.com

Blouin ArtInfo Features Joan Waltemath: Fecund Algorithms

“Fecund Algorithms,” an exhibition of works by artist Joan Waltemath (b.1953) started on April 5 and will run through May 13, 2017 at Anita Rogers Gallery, New York.

The selection of works on display features new paintings from the artist’s ‘Torso/Roots’ series. The new paintings by Waltemath were created with a range of unique materials including oil, graphite and various metallic and fluorescent pigments on aluminum panels, many of which took years for the artist to complete.

The artworks deal 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. Due to the reflective and absorbent nature of the pigments used in the paintings, new details can be observed when viewed from different perspectives at different times of the day, hence every interaction with one of the panels is a new experience.

View more on BlouinArtInfo.com

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.

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Art Break: Math and Art Merge With Joan Waltemath’s ‘Fecund Algorithms’

Zeal NYC Recommends Joan Waltemath’s Exhibition

Art Break Downtown:

Where: Anita Rogers Gallery, 77 Mercer Street, #2-N

When: Now through May 10, Tue – Fri: 10-6, Sat: 12-4

Who: Joan Waltemath: Fecund Algorithms

What: Abstract paintings based on harmonic mathematical relationships

Why: The relationship between math and art is stronger than you might think

View More on ZealNYC.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

NY-ArtNews Reviews Joan Waltemath: Fecund Algorithms

Upon entering the open space of the Anita Rogers Gallery you are greeted with rectangular aluminum canvas’ that immediately draw your eye and are painted like multi-paneled grids. The subtly decadent, organized planes of color and texture serve as visual offsets and underline the surrounding architecture of the Anita Rogers Gallery. Both the rigorous lines of Piet Mondrian’s seminal paintings and the tempered emotive undertones of Agnes Martin’s work come to mind.

Waltemath’s paintings do not assault the space but complement and summarize it. The canvaswhat happens for web site 2880es’ precisely organized colors and textures create a prevailing mood of a restful oasis. The sumptuous dilapidation of the gallery walls and fixtures enhance this mood. On a recent trip to Washington D.C. surrounded by historic monuments and nature I felt the same sense of peace and contemplation. These paintings provide the mental space to think, contemplate, and consider. The rigidly organized lines and colors force the consciousness inward or similarly condense the surrounding space and architecture onto a single plane. As such the paintings are correspondingly simple and complex.

Juxtaposed to the paintings are smaller textile pieces Waltemath considers her “rest” pieces intended to break up the complexity of the paintings and provide an inviting tactility. The soft construct of these pieces provide a nice counterbalance to the paintings and provide a narrative as to how Waltemath may have arrived at her painting techniques. While it is my belief that good painting often deceptively hides the evidence of time, the textile pieces through their meticulously attended stitching, provide not only a rest  for the eye but also a welcome relief in the revelation of the lovely preciseness, rigor, and disciplined labor that underpin the paintings on view.

Rather than lines that recede into the paintings at an angle creating the illusion of depth what happens(West 1  1,2,3,5,8…), creates a conceptual understanding of space through horizontal lines. Comparing Waltemath’s paintings in relation to depth, you could say that the amount of uninterrupted open space in what happens(West 1  1,2,3,5,8…), creates a greater depth than Waltemath’s interwoven (East 2  1,2,3,5,8…), which fragments and stratifies its plane.  One could say then that these paintings act as windows or looking glasses to greater expanses, however what is depicted is an interior world, both of the viewer and the paintings’ surroundings. Another noteworthy element of the paintings are the specific materials used, graphite, zinc, bronze, lead, that bring to mind layered geological formations or the raw material of industrial spaces. Indeed taking the first analogy, one could analyze her paintings as cross sectional slices of stone compressed and combined with a richness of pure and impure minerals. These windows and geological slices attune the viewer to an interstitial space and perhaps a pataphsycial belief that all will work out as it should.

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