Tag Archives: Contemporary Art

Tribeca Citizen Shares Anita Rogers Gallery

Anas Albraehe: The Dreamer at Anita Rogers Gallery, 494 Greenwich Street

Anita Rogers Gallery just moved (in February) from Soho to a new space at 494 Greenwich, just north of Canal, so adding them in here as a new kid so we can track the expanding Tribeca Gallery District.

The gallery opened in 2016 on Mercer Street in a second floor space, then to a ground floor location on Greene Street. And while they loved that location, there was permanent scaffolding on the storefront and it became too much. “We are thrilled with our new space and location,” said gallery director Elizabeth Thompson. (She thought the space must have been a fitness studio before they moved in; years ago it was the Boris Bidjan Saberi boutique.)

Rogers is the daughter of British artist Jack Martin Rogers and is a classically trained opera singer, harpist and guitar player; as a result the gallery does a lot of music events and an annual Greek celebration, with live Greek music, food and dancing. (Rogers was raised in Greece.)

The current show — up till August 27 — is work by a young Syrian painter, Anas Albraehe, titled The Dreamer.

Anita Rogers Gallery
494 Greenwich
Tuesday-Saturday 10am-6pm

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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.

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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.

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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.

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Middle East Institute at Columbia University Shares Anas Albraehe’s Solo Exhibition

Anita Rogers Gallery is thrilled to present The Dreamer, a solo exhibition of work by Syrian painter Anas Albraehe.

The exhibition will be on view June 29 through August 27 at 494 Greenwich Street, Ground Floor in New York City.

The gallery will welcome visitors on the evening of Wednesday, June 29, 6-8pm for a reception.

You can read the poem that accompanies the exhibition here.

Albraehe paints expressive portraits of men asleep – these are laborers and refugees enjoying a brief respite from the day to day. There is a historical precedent for painting sleeping figures – and men in particular (vs the ubiquitous reclining female nude) – artists from Goya to Bacon to Van Gogh have broached the topic. Born in Syria in 1991, Albraehe is a multidisciplinary artist focused on painting and theatre. He graduated with a Bachelor’s degree in Painting and Drawing from Damascus University of Fine Arts in Syria in 2014. After the beginning of the war in Syria, he moved to Lebanon where he obtained a Master’s degree in Psychology and Art Therapy from the Lebanese University in 2015. His recent work combines his interests in the fields of art and psychology to produce a portrait that explores the psychology of color and the gaze of the Other. Albraehe has had solo exhibitions in Paris, Jordan, Beirut, and participated in group exhibitions worldwide. The artist’s work is in the permanent collection of the Museum of the Arab World in Paris (IMA) and he is a member of the French Artists Syndicate. He now lives and works in Beirut.

View more on Columbia’s website. 

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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.

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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

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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

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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

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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″

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