Tag Archives: We Shall be a City Upon a Hill

ArtNet: 13 of Our Favorite Gallery Shows From Coast to Coast That You Can Visit Virtually

Art galleries provide necessary spaces for creative discovery and connection—experiences we all may be seeking in our current existences. Luckily, many galleries across the country can still be visited virtually, and at your work-from-home leisure through Artnet Galleries.

If you’re in need of an art break, here are 13 of our favorite exhibitions, from New York to California, that you can gallery hop through your laptop.

2. “Mark Webber: We Shall Be City Upon a Hill” at Anita Rogers Gallery, New York


Time: All day, every day

Take a virtual tour of Mark Webber’s exhibition here. 

View select pieces from Mark Webber’s solo exhibition.

Installation view of “Mark Webber: We Shall be a City Upon a Hill.” Photo by Jon-Paul Rodriguez

Installation view of “Mark Webber: We Shall be a City Upon a Hill.” Photo by Jon-Paul Rodriguez



Visit Mark Webber’s ‘We Shall be a City Upon a Hill’ on Artland

Anita Rogers Gallery has partnered with Artland.com to bring you a 3D tour of Mark Webber’s 2020 solo show, ‘We Shall be a City Upon a Hill.’

Click below to walk through the gallery and view Webber’s Portals, City of Sculptures and wall of Fragments.

Read the press release on anitarogersgallery.com

View the opening reception photos here.

Mark Webber: We Shall be a City Upon a Hill in Art Daily



Picasso created his first version of Guitar sometime between October and November of 1912 and in that moment toppled the most fundamental and timeless rule of sculpture: solidness. Guitar consists of 7 pieces of cardboard stitched together with thread, string, twine, and coated wire. This work was likely slapped together in a flash and under the intoxicating sway of a first encounter. Picasso applied the ideas he and Braque had advanced about cubism and collage to an assemblage beautifully visualized in space. The yolk of the egg was broken, and the omelet was born.

Mark Webber assembles many different elements: hand-made, man-made, or found, in striking relationships using steel, stone, wood, glass, and hydrocal. He forges ahead with his visual fragments like a tireless explorer instinctively negotiating and shifting gears in search of surprising places. His images ooze rustic constructivism like a Joaquín Torres-García wood sculpture from 1930 brought up to code. Webber straightforwardly identifies his works in groupings with very simple designations such as structures, walls, portals, and vessels. But a preconscious sparkle also animates his images with anthropomorphic prompts and body language that simulate common gestures like a handshake or a greeting. Encounters between friends.

Mark Webber. Untitled. 2019. Copper wire, Hydrocal, Steel, Glass, Permanent Marker. 8 1/8h x 40w x 5d in

Some of Webber’s sculptures bring together parts or pieces that are curious and tantalizingly difficult. It is not hard to spot a cheeky calculation when a rock is bluntly attached to an L-shaped stucco form with a flat metal bracket that is reminiscent of a deadpan, take-a-hike Buster Keaton routine. In reality, the overall take from Webber’s work is elegiac: a solemn wink, a desolate location, and all in the service of commemorating another time and place. While some artists acknowledge the past with subtle pictorial nods, Webber firmly grounds history in the here and now, not unlike Giorgio de Chirico’s metaphysical images of empty cityscapes and piazzas. Let’s face it: Webber demolishes the present.

The best work of Webber is stoic and evokes an otherworldliness captured, set apart and isolated. His means are cloaked in quiet. Webber graciously spares us the nonsense of nostalgia by fusing fact and fiction, material and message, and a compelling amount of living human quotient. In a cluster, his sculptures create a diaspora of figures vying for attention but clearly performing in unison; collectively they create a timeless model of behavior and comportment. Peter Schjeldahl in his recent article “The Art of Dying” eloquently writes:

I like to say that contemporary art consists of all artworks, five thousand years or five minutes old that physically exist in the present. We look at them with contemporary eyes, the only kinds of eyes that there ever are.

Mark Webber is driven by a belief in the making of sculpture that is endangered. Today art arrives pre-packaged and with a mandatory “identity” meant as “admission” into the club. Gone is the hard-won effort to break free and gain true independence from the slavery of acceptance. Webber defies the odds. His work moves like lava from the mouth of a volcano: slow, deliberate, and mysterious.

– George Negroponte

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On Mark Webber | An Essay by Eliza Callahan

Mark Webber. Untitled. 2019. Stone, Hydrocal, Steel. 23″ x 15″ x 9″

It is neither too difficult nor unreasonable, at this particular moment in time, to imagine a dramatic or catastrophic shift in our landscape that shuttles us into a new epoch. But what is left over after the event and who finds what is left?—Broken foundations, pieces of larger structures that no longer exist, colors stripped or faded away. Just like that, a new antiquity is formed. When looking at Mark Webber’s sculptures, which often take form as objects made from interlocking shapes, there is a sense that the parts which comprise the work are made from pieces of greater structures, a vision of what is left. Webber makes use of a combination of hand sculpted and ready-made, found materials to build his monochrome, architectural constructions (Webber sites Luis Barragan’s Emotional Architecture as an influence). His minimal formations often make use of hydrocal—a mixture of plaster and cement which appears almost like ceramic or stone—-as primary material which he then mingles or fastens with glass, wood, steel and sometimes string. The white sculptures lend a cycladic air. His studio which is so heavily populated by the work, appears like a small, dream-like city, a visible nod to Atelier Brancusi.

Webber’s sculptures are just as gestural as they are structural; there is a push and pull between calculation and happenstance. In them an, intrinsic harmony exists—like pieces from varying puzzles that have somehow slipped (or wedged) into peaceful accord. In Webber’s sculptures, modernism’s sharp, clean edges and hard angled forms have been blunted and weathered as if by the elements. (Webber is a devoted sailor and paddler and a nautical note is present).

It is compelling to consider Webber’s background as a cabinet maker and furniture designer in relation to his art objects which visibly share some lineage with functional design. While Webber’s sculptures lend an air of function, as viewers, we are not able to gather what that function might be, and that is not the point.

– Eliza Callahan

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Mark Webber in 27East

The work of Mark Webber, an artist based in New York City and Sag Harbor, will be featured in “We Shall Be A City Upon A Hill,” an exhibition running February 12 to March 14, at Anita Rogers Gallery in Manhattan.

Mark Webber. Untitled. 2019. Glass, hydrocal, copper, paper and permanent marker. 7h x 4 1/2w x 3d in

Webber has been steeped in visual art his entire life. Growing up in a house filled with world-class art (his mother was on the Acquisition Committee of MoMA), he was inspired by the Miro, Henry Moore and Jim Dine work on the walls and went on to study art at Banff, Windham College, earning a BFA from SUNY Purchase.

In addition to painting, sculpting and drawing, Webber is also an accomplished furniture designer and woodworker, sailor and paddler. When he is not in the studio, he is drawing further inspiration from being on the water.

“I take traditionally static forms such as rectangles, ellipse and lines and uncover subtle subtexts such as intimacy, separation and balance,” said Webber in a statement. “The viewer is welcomed to draw their own conclusions about how a piece stands, supports itself, engages in a dialogue with the materials used. Whether it is the process or the materials, each piece finds a balance through gravity and composition.”

Anita Rogers Gallery is located at 15 Greene Street in New York’s SoHo neighborhood. The show opens with a reception on Wednesday, February 12, from 6 to 8 p.m. For more information visit anitarogersgallery.com.

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Hamptons Art Hub | Mark Webber: We Shall be a City Upon a Hill


Anita Rogers Gallery presents We Shall be a City Upon a Hill, an exhibition of work by American artist Mark Webber. The show will be on view February 12 – March 21, 2020 at 15 Greene Street, Ground Floor in SoHo, New York. The gallery will host a reception with the artist on Wednesday, February 12, 6-8pm.

Mark Webber. Untitled (Structures Series). 2019. Stone and hydrocal. 22″ x 12″ x 15″

The exhibition will feature a variety of work ranging from eight-foot-tall portals to tabletop structures, as well as small, handheld fragments. Webber works with a diverse range of materials, including hydrocal, stone, steel, glass and wood. It will be the artist’s largest and most varied exhibition to date.

Webber studied under Charles Ginnever and Peter Forakis at Windham College in Vermont. He received a BFA in sculpture at SUNY, Purchase. He has exhibited at many galleries in the Hamptons and is in several private collections on the East Coast. This will be his first solo exhibition with Anita Rogers Gallery. Webber resides in SSag Harbor, NY in The Hamptons.

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The Art Scene: 02.06.20 | Mark Webber Sculpture


Mark Webber Sculpture 

“We Shall Be a City Upon a Hill,” a show of sculpture by Mark Webber of Sag Harbor, will open at Anita Rogers Gallery in SoHo with a reception on Wednesday from 6 to 8 p.m. and continue through March 21. The artist’s largest show to date, it will include work ranging from small fragments to standing sculptures eight feet tall.

Mark Webber. Untitled. 2019. Hydrocal, copper, wood and steel. 16″ x 10″ x 8″

Rectangular monoliths with smaller rectangular sections cut out from their center, which Mr. Webber calls “portals,” are a recurrent theme in his work. He also makes wire constructions, drawings, collages, totems, and a variety of other objects that reflect his sensitivity to such materials as plaster, glass, copper, steel, papier-mache, and Hydrocal.

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