Tag Archives: Los Angeles

Gordon Moore Featured in Galerie Magazine

Galerie Editors’ Picks: 5 Great Art and Design Events This Week

Featuring Gordon Moore: Small Verticals

February 5, 2019

Galerie’s picks of the must-see art and design events this week, from a highly anticipated exhibition celebrating Frida Kahlo’s personal style to a spotlight on Jasper Johns at Matthew Marks Gallery.

2. Gordon Moore: Small Verticals
Anita Rogers Gallery

The gallery presents a show of small-format, purely aesthetic abstract paintings by New York artist Gordon Moore. For this series, Moore referenced subject matter like books, blinds, and vent grills. The paintings will be accompanied by a small selection of drawings that use fragments of shadows cast by fire escapes.

Where: Anita Rogers Gallery, 15 Greene Street

When: Opening reception: Wednesday, February 6, 6–8 p.m.

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Go to AnitaRogersGallery.com for more information.

Town and Country Magazine Turns to Anita Rogers for Household Staffing Expertise

What’s the Difference Between a Butler and a House Manager, Anyway?

by Lindsay Silberman  July 31, 2018

Last week, in a rather revelatory New York Times profile of Gwyneth Paltrow and her $250 million Goop empire, the actress set the record straight on a topic that 99 percent of us hadn’t pondered until now: the difference between a butler and a house manager.

“Is he your butler?” writer Taffy Brodesser-Akner asks Paltrow, referring to the man who greeted her—and then served her a glass of wine—at Paltrow’s home.

“No, he’s a house manager,” Paltrow responds. “He’s the best. He’s from Chicago. He’s so incredible. He helps me with everything.”

The entire exchange, which consisted of approximately 43 words, was one of the most buzzed-about takeaways from the piece. It even prompted The Times of London to publish an imagined “conversation” between the actress and her non-butler butler. Was it a classic case of Paltrow pretentiousness—or has GP stumbled upon a phenomenon just before it goes mainstream? (You know, as mainstream as household staff gets.)

In an effort to get to the bottom of this decidedly one-percent debate, we reached out to British American Household Staffing, an agency that provides formally trained estate managers, personal assistants, chauffeurs, governesses, butlers, and baby nurses to the kind of clientele that can afford it. Surely, they would be able to shed some light on the subject.

“She’s acimagetually right,” says BAHS president Anita Rogers. “They have very different backgrounds and different roles. A house manager oversees the structure of the staff and typically does all of the hiring and firing. They handle scheduling—making sure a chauffeur is always on call, housekeepers shifts are covered, and that a replacement is available if someone calls in sick. They’re also responsible for the budgeting, financial planning, and overall management of household.”

Butlers, on the other hand, are more service-oriented. “A seasoned butler is properly trained in etiquette, so they understand how to serve a meal and handle all the details, from the wine pairings down to the flower arranging,” explains Rogers. “They provide a white glove experience, which not everyone needs or wants. In Silicon Valley, for instance, no one would have a butler. But in New York, it’s much more common.”

And while house managers frequently come from a hospitality background—often having worked as the chief of staff at a high-end hotel or resort—butlers are trained at a specialized and credited butler academy.

So there you have it. Gwyneth, Queen of Goop, was right all along. Of course she was. Did you really expect anything less?

Visit BAHS.com for more info.

ArteFuse Highlights Virva Hinnemo: Four Feet

Virva Hinnemo lives far out on eastern Long Island, and her artwork looks very much like the art of the ab-ex painters who made that area so well known. Her art, overwhelmingly black and white, and sometimes on such proletarian surfaces as cardboard, has a touch of the primitive to it. The compositions are direct, unmannered and actively self-sufficient. They point to a time when such unfettered abstraction was the dominant idiom in the New York area; we pretend that is so still, although it is clear by now that the style is currently a matter of individual performance, practiced by talented persons such as Hinnemo. In such a show as this, where the work necessarily participates in a historical, indeed what amounts to a scholarly, situation, we must see it with a bit of a prepossessed eye. There is nothing wrong in doing so–in all the arts, it looks like artists are referencing the past if they are working with traditional idioms–it does mean that such painting takes place, inexorably, alongside what was distinguished before it. Foreign painters such as Hinnemo, who is Scandinavian by birth, inevitably align with previous efforts here (Franz Kline comes regularly to mind on seeing her paintings), even if she comes from far away.

VH 033 Road and River

Like many of the images, Road and River (2017) is small: 14 by 11 inches. It is very much Kline-like in its declaration–a bold, highly structured, but also intuitive design. The overall composition might resemble a person bending over, on his knees, but the title offers guidance toward a reading based on nature. Looking at the image as if one were above the landscape, as the painting’s name indicates, it does seem like a road is connecting two parts of a major waterway. The overall pattern of the image would then be viewed as if its audience was flying over it. Doing so would enhance the experience of the painting, but it would also lessen its abstract qualities when looking at it straight on. It has been remarked that abstraction occurs in realism, and the other way around; maybe this work illustrates the comment quite well. Still, it is impossible to see it as nonobjective or realist in the same moment; we shift from one perception to the other. The same is true with Four Feet (2017), which is larger at 24 by 28 inches. Again, the name of the painting orients us toward a view based in real life, but in visual terms, the work actually seems highly abstract–or at least poised between figuration and abstraction (it also looks a lot like a simplified landscape). Four Feet doesn’t make very clear the meaning of its title, but like Road and River it balances across the continuum of realism and nonobjective painting.

The acrylic-on-cardboard painting Horizon (2017) is also small: 5 ¼ by 6 ½ inches. It consists of a V-shaped stroke, on the left, and two columnar forms with tops, standing next to and slightly above the two circular holes cut into the brown ground of the cardboard. The work is whimsical and free, perhaps to the point of excessive freedom, although this kind of abandonment has been the staple of lyric abstraction in America for a long time. To fully acknowledge the success of the piece, the viewer also has to appreciate the act of its making, which is silently recorded in the painting. This is the key generally to abstract expressionism, and specifically to Hinnemo’s art. (The artist does this sort of thing very well, but its historical repetitiveness can also be noted.) Laundry I (22 by 30 inches) is one of the larger pieces in the show. It consists of a group of four very dark colored, reddish-black thick strokes imposed on thinner black lines, which describe an open, more or less vertical and horizontal structure. The design has been established on a piece of paper. With the help of the title, we can easily see the composition as clothes hanging on a line, although this tends to be done after we read the work abstractly. Whatever the criss-cross between abstraction and realism might be, Laundry I works as a painting, its ambitions accomplished both within recent art history and outside it. It looks like it is impossible for the work–and the show–to be other than historically minded even as Hinnemo rekindles life into a lyric idiom. But it may also be true that her work can stand alone, without support from the past; the show is strong enough to uphold this reading.

– Jonathan Goodman

View on AnitaRogersGallery.com

Visit ArteFuse

Hamptons Art Hub Highlights “Works on Paper”

New shows of all kinds are opening in New York City galleries this week. Art galleries in Chelsea, Uptown, Downtown and Brooklyn are hosting solo shows, group exhibitions and retrospective surveys. Viewers can check out sculpture that toes the line between childlike and creepy, portraits that are intimate looks into realistic or imaginary worlds and drawings that defy expectations.

DOWNTOWN — Anita Rogers Gallery: “Works on Paper: Drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath”

October 11 through November 11, 2017

Opening Reception: Wednesday, October 11, from 6 to 8 p.m.

Anita Rogers Gallery presents “Work on Paper: Drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath,” a group exhibition that aims to celebrate drawing as a primary form of artistic communication.

View the full article on HamptonsArtHub.com

Visit AnitaRogersGallery.com

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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Hiring Seasonal Domestic Staff

Hiring the right temporary domestic staff for your summer home is a large project for any principle or family. This article discusses why this can be so challenging and offers potential solutions to common problems I have seen every season. I am someone with extensive experience in the luxury hospitality and staffing industry and I have run British American Household Staffing and British American Yachts, the leading domestic staffing and yacht crew agency in the USA and UK as well as British American Newborn Care, which works with the best childcare professionals in the USA and UK. Most agencies have a roster of recurring staff in all the domestic staff categories. The earlier you start the hiring process the more likely you will secure the most qualified candidates. If you have very specific requirements and early start will help you find the ideal person for a potentially harder match to find.

A family looking for a live-in housekeeper-cook for their Hamptons home should look at contacting agencies in New York as well as the Hamptons, but nowhere too far for the housekeeper-cook to travel back and forth to on their days off (for instance New Jersey is too far from Easthampton, one full day off will be used for traveling). A live-in housekeeper-cook for the Hamptons will have to drive so this is a challenging order as many domestic candidates don’t want to live in and many housekeepers do not like to cook, especially cook the volume needed for the summer season, which is typically filled with parties and extra guests.

The best solution is to do the following: – Start the hiring process early – Contact high end agencies only, both local and non-local (as it is live in) – Set a salary range that is generous to allow you to find the best fit more easily – Make sure you have set an appealing schedule so you open-up the pool of qualified candidates. The schedule should always have 2 consecutive days off and usually a Sunday is given as a day off, in conjunction with Monday or Saturday – Phone screen the candidates first – Check their level of experience – Check they have been a flexible worker in the past.

One of the most common recurring issues for larger estates lies in the team of domestic staff. Staffing a larger home or estates is like running a small business in your home. The pyramid model works well for estate staffing. Start by hiring a house manager or a butler house manager. This person can then help you screen the rest of the staff, which helps them establish their authority with the staff you decide to hire for the summer that this house manager will be overseeing. This is the most important hire you will make over the summer, so screen this person for the following qualities:

– Ask their management style and ask for two or more references from staff they managed previously – Find out why they are looking for the summer only – Hire someone who has experience in the area they will be working – Ensure they have estate staff management experience – Once you hire them, hire the domestic staff with them and keep an open line of communication with the staff in case there are revolving door problems and it is the fault of the house manager – Make sure they have relationships with the top agencies in the area and ask who they liaise with at those agencies – Ensure they understand scheduling for staff – Pay them very well with the promise of a bonus at the end of the season In case you are doing the hiring alone or with a remote house manager, you will need to know how to attract the best staff (housekeepers, chefs and nannies) for your summer home Housekeepers: – Other than nannies, most high quality domestic are looking for a secure full-time job position, preferably with benefits. This is something every principle hiring only for the summer with deal with and lose staff too.

The best solution for this is to hire the best local candidates on a lower full time salary, offer benefits and give them a bonus at the end of the summer. This is the best solution for retaining top talent in a seasonal area such as the Hamptons – Housekeepers, more than any other domestic staff category, like a regular schedule with overtime, which is the law. A constant live in or Wednesday to Sunday schedule is always unpopular, but more-often-than-not needed for summer hires, especially in the Hamptons. Hire one more extra housekeeper than you need so each housekeeper gets one weekend of a month. This will attract the best talent – A standard and suggested formal housekeeper salary is $70,000 plus benefits and overtime.  A seasonal housekeeper is $35 to $40 an hour.

Chefs: –

Chefs often like a temporary position that helps them earn a solid income and allows them more freedom to freelance during the year, or travel etc. – Yacht chefs are some of the best chefs you can find and they are accustomed to short-term gigs, long schedules, catering to large formal parties in a small space and working 7 day or more stretches. I would recommend this direction if you can accommodate a live- in chef. – Use an agency that works with both yacht and domestic staff – Top chefs are often happy to do the Hamptons in between jobs. Again, starting this search early and constantly checking in is an excellent way of increasing your chances of securing the best private chef for the summer – Suggested salary for a summer chef is $8-12,000 a month.

Nannies: –

Nannies fall into many different categories: 1. Career nannies 2. Mother’s helpers 3. Nanny/housekeepers 4. Second language nannies 5. Newborn Care Specialist nannies 6. Travel nannies Childcare is the most delicate of all domestic hires to make, as they need to be fully-qualified for your particular childcare situation. I recommend using an agency with a specialized childcare department. Screen the head of the department and make sure they are qualified in childhood education and development and hold the appropriate degrees (and newborn care specialist should be an expert in their field and should have experience training, screening and offering certificates to newborn care specialists). If your children are older (3 and up) a travel nanny or student nanny could be a great option. These nannies are often students, actresses, singers, writers or have another unrelated career during the year. They must be experienced nannies with your children’s age group and this should be screened by the agency childcare branch. This can be a good option if they are able to tutor and educate your children over the summer, or teach them a musical instrument etc. This is the more economical option, with a salary usually starting at $25 an hour plus overtime. Travel pay is not a legal prerequisite but overtime pay is. If you have an infant, or infant twins, a certified and educated newborn care specialist or baby nurse is the best option. A regular nanny (career nanny, nanny/housekeepers, second language nanny, mother’s helper or suchlike) will be looking for a permanent position, so they are harder to pin down for the summer. If you do, the career nannies will likely be expensive at $35-45 an hour. Some will accept a summer position in between jobs but this is rare. For all childcare positions we highly recommend going through the childcare division at a reputed agency. Again, screen the person who heads this branch.

Examples are British American Household Staffing (bahs.com) and British American Newborn Care (bababynurses.com). Ashley Mundt and Katie Morin are both childhood and infant development specialists and highly certified, their bios below. For more information on domestic staffing, temporary or permanent, feel free to reach out to me at: info@bahs.com

By Anita Rogers www.bahs.com www.babynurses.com

View on British American Household Staffing’s blog: http://bahs.com/news/detail/hiring-the-best-domestic-staff-for-your-summer-home1

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.

View More on TwoCoatsOfPaint.Com

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