The works in the exhibition span a period of over forty years, from some of the artist’s earliest work during art school to his final masterpieces. Throughout his life, Rogers continually examined the complex notion of time and its role in the human experience. He believed forward movement and discovery are accomplished through examining history and creating relevance from the past within the present.
Learn more about Jack Martin Rogers at AnitaRogersGallery.com
NEW YORK, NY.- Anita Rogers Gallery is presenting Odyssey, a selection of drawings and paintings by British painter Jack Martin Rogers (1945-2001). Anita Rogers, the gallery’s owner and director, is the daughter of the artist and was raised across England, Turkey, Italy and Greece, countries that deeply influenced her father’s work. Anita now owns seventy-five percent of his estate. This is the artist’s first major solo exhibition in the U.S. The collection is on view November 16 – December 30, 2017 at 15 Greene Street, Ground Floor in SoHo, New York.
View the full post on ArtDaily.Org
View more about the exhibition on Anita Rogers Gallery’s website.
Farrow & Ball co-owner Tom Helme transforms an Edwardian estate into a modern yet historically resonant family home
Scotland is a place shaped by myth and legend, where every crag and castle tells a story. On the remote Kintyre peninsula, nestled among rural farms and the west coast’s pounding waves, one rambling property has the sort of dreamlike atmosphere that feels straight out of a fairytale.
“While its remoteness is a refuge, its great beauty is a neverending source of happiness,” says Tom Helme, the former decoration advisor to the National Trust and onetime co-owner responsible for reviving cult-favorite paint company Farrow & Ball, who purchased the 7,500-acre Carskiey estate with partner and design collaborator Lisa Ephson on more than just a whim. Helme had grown up holidaying in Scotland, and he almost closed on a similar home in the area years earlier. “Tom was looking for somewhere where proper farming communities still survive, within view of the ocean—not to mention the incredible light that the west coast of Scotland is famous for,” says Ephson of the cliffside property, whose nine miles encompass a 1908 Edwardian mansion, a shore cottage, and an Aberdeen Angus cattle farm that abut the sea.
article by Jennifer Fernandez for Architectural Digest
Read the full article on British American Household Staffing’s blog.
There is a land called Crete, in the midst of the wine-dark sea, a fair, rich land, begirt with water, and therein are many men, past counting, and ninety cities.
– Homer, The Odyssey
Anita Rogers Gallery is proud to present Odyssey, a selection of drawings and paintings by British painter Jack Martin Rogers (1945-2001). Anita Rogers, the gallery’s owner and director, is the daughter of the artist and was raised across England, Turkey, Italy and Greece, countries that deeply influenced her father’s work. Anita now owns seventy-five percent of his estate. This will be the artist’s first major solo exhibition in the U.S. The collection will be on view November 16 – December 30, 2017 at 15 Greene Street, Ground Floor in SoHo, New York.
The works in the exhibition span a period of over forty years, from some of the artist’s earliest work during art school to his final masterpieces. Throughout his life, Rogers continually examined the complex notion of time and its role in the human experience. He believed forward movement and discovery are accomplished through examining history and creating relevance from the past within the present. Rogers spent much of his life studying scientific ideas relating to time and considering how certain discoveries would alter perception and the potential impact of these alterations. His life’s work was dedicated to studying the concept of human identity within the realms of modernity and progress; he firmly believed that the only way forward is to embrace and learn from, rather than reject, the contributions of the past. This dichotomy is captured in his work, which presents traditional subjects, such as classical and religious architecture, alongside modern ones. One of the artist’s most significant works is a large format, six-part canvas painting of Knossos, the largest Bronze age archaeological site in Crete. In this painting, Rogers pulls the ancient ruins from the past into the present by using bold colors and abstract motifs.
The artist defies categorization as “abstract” or “figurative”; he moved through both genres seamlessly during his life, often merging the two. Even his wholly representational paintings touch on philosophical ideas. The figures are not static in any one time or place but rather are symbols; they act as stand-ins for men passing through time and examining history. While often addressing traditional subject matter, the works remain contemporary and relevant.
Rogers was born in Warwickshire, UK in 1945. He was classically trained in anatomy and fine art at the Birmingham School of Art. There, he developed his meticulous methods. He worked on extensive preparatory drawings before beginning his paintings; a selection of these will be included in the exhibition, offering a rare glimpse into the artist’s process. The artist moved to the Greek island of Crete in 1962, where he entered his most prolific artistic period; many of the works featured in the exhibition are from this time. He was heavily inspired by the landscape of Greece, as well as by classical literature and music; in fact, Rogers himself was an exceptional musician and often made his own instruments. He died in 2001, leaving behind an extraordinary body of work.
View more on the gallery’s website.
By Norine Dworkin-McDaniel from Parents Magazine
When my son, Fletcher, was around 8 months old, I started dreading bedtime. Each night I’d steel myself as I put him in the crib, where he’d start wailing like an abandoned child. Even though I knew that he was fine — not hungry or thirsty or wet or sick — this drama broke my heart. I often caved and brought him back downstairs, letting him snooze with my husband and me while we hung out on the couch. Despite my good intentions, I’d fallen into a classic sleep trap like so many rookie parents.
“Moms feel terrible about letting their baby cry,” says Heather Wittenberg, Psy.D., a child psychologist on Maui. “Many say, ‘I’m not going to be like my mother and put my baby in the crib, close the door, and ignore her wails.’ But some of us take it too far and think it’s awful for babies to ever cry. Then we end up with a sleep problem.”
Did we ever! I needed guidance — and maybe some backbone. Sound familiar? Learn gentle yet effective techniques for getting out of this and other sleep snags.
Find out how your baby is developing.
Read the full post on British American Household Staffing’s website: http://bahs.com/news/detail/five-things-to-avoid-when-sleep-training-your-baby
Queen Elizabeth stayed in this opulent 18th-century estate—and now you can too.
Ensconced in the heart of Provence’s mystical wine country sits a stately residence, home to the Marquis de Saporta and his family for more than 300 centuries. The collection of fountains, stone sculptures, and ancient arboretum pepper the grounds, serving as a reminder of the grandeur of this estate and the lavish parties once held there. As a private château, only royals, VIPs, and dignitaries—most notably Queen Elizabeth—were privy to an overnight stay.
Then, in June 2017, after 18 months of construction and painstaking renovation, Château Fonscolombe was reborn as a 50-room hotel, opening its storied doors to a new generation of discerning guests. Built in the Italian Quattrocento style popular during the 18th century, the main estate features 13 chateau-style bedrooms, each are adorned with a wide spectrum of period touches, from ornate ceiling detailing and hand-painted Chinese wallpaper to chiseled frescos, manicured lawns, Genoa leather tapestries and original terracotta-hued floor tiles. There’s also a small spa (located in the castle’s former boudoir), a winery (dating back to Roman times), and sprawling gardens set over more than 20 acres.
View the full post on British American Household Staffing’s blog.
Joan Waltemath sat down with Christine de Lignieres for TheFinch.Net to discuss her work, philosophy, life and death. Waltemath’s drawings are on view at Anita Rogers Gallery through November 11, 2017.
Christine de Lignieres: Your work is visually related to a high — modernist formalism that includes Bauhaus, De Stijl, Mondrian … to aesthetic movements, at a certain period in history. Do you feel a kinship with those artists?
Joan Waltemath: I don’t really approach my work stylistically in relation to Modernism because the kind of geometry that I’m working with is so old, and I mean mostly it’s been used in architecture. If you look at plans from Gothic and Romanesque churches, from the pyramids, the Ziggurats — these geometric forms obey certain mathematical laws of nature. That’s the basis of the grid I work on using harmonic ratios. The lineage of modernism is something that I’m obviously in tune with, but my focal point is more on the timeless nature of the geometry itself and how it’s able to open certain doors of perception.
When I was growing up in Nebraska, the things I looked at were the Plains Indian beadwork and painted hides. I remember that many people were really astounded by the beauty of the Plains Indian show at the MET a couple of years ago and for me that was also a great moment, but a very familiar one that had already impressed me. I could identify most of the pieces in the show, whether I had seen them before — or only in books and often I would know what museums they are in or what part of the country or world. The Plains Indian works and ceremonial objects are really my deepest connection to art. There’s a certain dichotomy between their apparent resemblance to modernism and their actual roots in a much more ancient worldview — and that is true of my own work to some degree as well.
Opening Reception October 11, 2017, 6-8pm
Works on Paper
Drawings by Gordon Moore, George Negroponte, Morgan O’Hara and Joan Waltemath
Photo Credit: Rachel Kirby Photography
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.
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.
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).
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.
