Tag Archives: Painting

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

View on AnitaRogersGallery.com

William Scott on View at the Barbican

A revelatory new take on art in Britain after the Second World War, a period when artists had to make sense of an entirely altered world.

Postwar Modern explores the art produced in Britain in the wake of a cataclysmic war. Certainty was gone, and the aftershocks continued, but there was also hope for a better tomorrow. These conditions gave rise to an incredible richness of imagery, forms and materials in the years that followed.

Focusing on ‘the new’, Postwar Modern features 48 artists and around 200 works of painting, sculpture, photography, collage and installation. It explores the subjects that most preoccupied artists, among them the body, the post-atomic condition, the Blitzed streetscape, private relationships and imagined future horizons. As well as reconsidering well-known figures, the exhibition foregrounds artists who came to Britain as refugees from Nazism or as migrants from a crumbling empire, in addition to female artists who have tended to be overlooked.

Morning in Mykonos, 1960-61 is one of five works by William Scott which can be seen at the exhibition.

By Postwar Modern New Art in Britain 1945-1965

Pictured above: Morning in Mykonos, 1960-61 © Copyright William Scott Estate. Courtesy of William Scott Foundation.

View more on Barbican.org.uk

View on AnitaRogersGallery.com

Rome Art Program Interviews George Negroponte

Art, whatever it takes – RomeArtProgram has made interviews with people involved in art, living in Italy, the USA and the UK, to know their feelings during the emergency.
– George Negroponte interview:

RomeArtProgram: What is your definition of “Art” today?

-George:  I like thinking about “culture,” and more specifically, as it relates to painting: I am dedicated to the meaning of painting as a visual language: absorbed and learned over time. I write about painting a lot, and I admire Fairfield Porter as a critic and painter. He wrote intimately about it. Beautifully. Porter saw painting as a manifestation of desires, urges, and needs arising from the deepest realms of the psyche. Equally important was his belief that painting has its own terms. It is not programmed, nor can it be imposed upon.

.

RAP: Art is dynamic and regenerates itself… how does it change, and how did it change us?

-George: Not sure. Your question suggests an endless supply of it (art). I don’t see it as a given; it’s earned or warranted only when our highest aspirations mysteriously come together without reason. I see it as disruptive, even chaotic. The art world I know is wildly competitive and aggressive. Noisy. But the fundamental nature of art is uncompromising. It does not tolerate manipulation.

.

RAP: When (and how) did you understand that art was becoming very important in your life?

-George: When I was five or six, my father started to paint as a hobby. He was a weekend painter, wore a blue beret, and copied Cezanne. Eventually, it made him miserable because he didn’t think he was improving.
It was too bad because he poured his heart into painting.

.

RAP: What role does art play today? What are the “great figures” who have recently changed it? Do you feel close to any of these figures?

-George: I’m still grappling with what Cezanne did to painting.
Pollock gave painting gravity in every sense of the word.
Brice Marden is a painter I have always admired.

Pictured above: George Negroponte. My Rothko. 2018. Mixed Media on Canvas. 8″ x 8″

Read the full interview on RomeArtProgram.org

View on AnitaRogersGallery.com

Hinnemo and Negroponte Featured at Keyes Art

Work by Virva Hinnemo and George Negroponte is currently being shown alongside John Battle at Keyes Art in Sag Harbor. The exhibit, Eyewitness, is on view to the public October 9 – November 28, 2021.

Eyewitness is an exhibit meant to confirm that Modernism is alive and well: art-making immersed in a visual and pictorial language, aspiring to convey meaning with ancient tools. Embedded in these works is a struggle to clarify purpose and the urge to ignore the cheeky posturing of the zeitgeist of the 1960s.

~George Negroponte October 2021

Eyewitness

Opening Reception: Saturday, October 9th, 6-8pm
Open from October 9th – November 28, 2021

Keyes Art Gallery
45 Main Street
At the American Hotel
Sag Harbor, NY

Pictured above: Virva Hinnemo, View from a Tent, 2021, oil on linen.

View more on JulieKeyesArt.com

View on AnitaRogersGallery.com

Jan Cunningham in ‘150 Years of Women at Yale’

Work by Jan Cunningham is currently on view in the exhibition ‘On the Basis of Art: 150 Years of Women at Yale’ at the Yale University Art Gallery in New Haven on view September 10, 2021 – January 9, 2022.

On the Basis of Art: 150 Years of Women at Yale showcases and celebrates the remarkable achievements of an impressive roster of women artists who have graduated from Yale University. Presented on the occasion of two major milestones—the 50th anniversary of coeducation at Yale College and the 150th anniversary of the first women students at the University, who came to study at the Yale School of the Fine Arts when it opened in 1869—the exhibition features works drawn entirely from the collection of the Yale University Art Gallery that span a variety of media, such as paintings, sculpture, drawings, prints, photography, and video.

The title of the exhibition references the phrase used in the landmark 1972 US federal law Title IX – which declared that no one could be discriminated against “on the basis of sex” in any education program receiving federal financial assistance, and which forced the School of Art to hire full-time female faculty beginning that year. Amid the rise of feminist movements – from women’s suffrage at the turn of the 20th century, to the ERA movement of the mid-20th century, to the #MeToo movement of today – this exhibition asserts the crucial role that women have played in pushing creative boundaries at Yale, and in the art world at large.

The Gallery is open Friday 5 pm – 8 pm, and Saturday and Sunday 10 am – 6 pm. You may reserve your ticket for the day: https://artgallery.yale.edu/hours-and-directions.

Pictured above: Jan Cunningham, Via Flavia Gioia, Priano, Italy 11 November 2012. On view in On the Basis of Art: 150 Years of Women at Yale.

View more on Yale University Art Gallery

View on AnitaRogersGallery.com

Sag Harbor Express Interviews Virva Hinnemo

By Annette Hinkle

Virva Hinnemo (b. 1976), an artist  in the Parrish exhibition “Affinities for Abstraction,” was born in Finland and now lives and works in Springs.

Q: As a female Abstract painter, did you face hurdles in what was initially a very male-dominated field?

I think this is a difficult question to answer. Yes, in some ways, the issue of being a woman painter has always been “there” for me. In school, the boys/men muscled their way. Many women students found a way to turn their womanhood into their artistic subject. I never wanted to hit the viewer over the head with that kind of a subject. I ask a lot from those who look at my work. My husband would call it “the long, slow look.”

I was always aware that I had stepped into a male-dominated world, and as a very young painter, I was conscious of not wanting to “paint like a girl.” A young painter does think some silly things: “Why can’t I paint like Guston? I don’t want my work to be pretty.”

Read the full interview on AnitaRogersGallery.com