Tag Archives: NYC

Jack Martin Rogers: Odyssey Featured on ArtDaily.Org

JMR 014NEW 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. 

A Scottish Castle Fit for Interior-Design Royalty

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. 

Jack Martin Rogers: Odyssey | Anita Rogers Gallery

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 OdysseyJMRMailchimp

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.

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Joan Waltemath in Conversation with Christine de Lignieres on The Finch

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.

Read the full interview on TheFinch.net

Goop Interviews Anita Rogers: How a Staffing Agency Can Help

Anita Rogers, founder of household staffing agency British American, has more than a decade’s experience in pairing families with household staff, from nannies and butlers to personal assistants and estate managers. She’s earned a reputation for finding successful matches–and also for helping to handle any situation that may arise in the working household. Here, she shares her insights on why hiring for your childcare or home needs is profoundly personal, and how a staffing agency can help with the process.

A Q&A with Anita Rogers

Q: What are the upsides to using an agency?

A: An agency helps you determine what kind of help you really need, and devises the way in which you want your staff to fit your lifestyle. It also saves you time and keeps you safe during the interview process. Some families have limited experience interviewing and hiring childcare and household staff, which makes it easy to miss signs of danger, red flags, or dishonesty. We enforce strict standards as we interview thousands of candidates each year. This has allowed us—and other reputable agencies—to become experts at spotting dishonest references and to be able single out specific personality traits and potential challenges. A staffing agency has seen how similar traits have played out with other candidates, which lends to its ability to find the best fit for you, your family, and your household.

Read the full interview on Goop.com

BAHSGoop

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.

View more on AnitaRogersGallery.com

Visit the Morgan Library and Museum website

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