Archive for the ‘Galleries’ Category

Judy Kensley McKie

Saturday, December 2nd, 1995

Working in bronze, that most ancient and enduring of materials, JUDY MCKIE’s work reveals the power of art to console and heal. Her Bird Fountain has the silent, soaring presence of great mourning monuments. “The water makes you feel calm and peaceful,” she says. “It’s nourishing. A life force.”

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Paper Prayers/In the Spirit

Thursday, December 19th, 1991

Many of the artists here are of a generation who rejected the conventional comforts of organized religion — and now they find themselves facing the inevitable mystery of death alone. They are re-inventing rituals that feel authentic to them and finding new ways to satisfy their spiritual needs. Paper Prayers has become one such contemporary healing ritual — a small congregation of artists gathered together In the Spirit.

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El Corazon Sangrante/The Bleeding Heart

Friday, November 1st, 1991

FRIDA KAHLO’s Self-Portrait with Thorn Necklace and Hummingbird shows her in a jungle with butterflies in her hair and a hummingbird dangling from a thorn necklace that pierces her neck, drawing small red drops of blood. “I never painted dreams,” she said. “I painted my own reality.”

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Love and Death

Friday, December 14th, 1990

The prayers were long, thin strips of paper or canvas, newsprint, photographs, or tinsel, embellished with drawings, paint, cut‑outs, dried roses, gold leaf, buttons, beads. Some were abstract; some had words; others had musical notations written on them. One prayer was made from a piece of old, paint‑splattered blue jeans, with a peace symbol and love beads.

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Chuck Holtzman

Wednesday, November 7th, 1990

His sculpture is like a very sophisticated game of musical chairs, where all the pieces come together for a moment of perfect, precarious balance. In his drawings, the charcoal keeps on dancing, long after the music stops.

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Louis Cartier

Friday, June 22nd, 1990

LOUIS CARTIER used precious metals and jewels in a highly polished, sparkling, and yet almost casual way way — the way Fred Astaire and Ginger Rogers danced. The shimmer of dozens of tiny diamonds on a cool platinum surface is the essence of sophistication –- like a Cole Porter song.

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David Salle/Imitation of Life

Thursday, March 29th, 1990

One of DAVID SALLE’s favorite movies is Douglas Sirk’s IMITATION OF LIFE. In one scene, all the characters are jammed into a taxi, watching a funeral through the windows. In Salle’s paintings, too, many different things are happening at once, everything is crammed together, nothing seems finished, everything is seen in reflection or juxtaposition or through a filter or a pane of glass, and all of the contradictions are left unresolved.

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Lou Jones: Sojourner’s Daughters

Friday, March 23rd, 1990

LOU JONES’s portrait of a musician shows a beautiful old woman with strong hands and a clear, untroubled face. You can feel that she’s listening to music; there’s a visionary gleam in her eyes. Her portrait is juxtaposed with a faded daguerrotype of a 19th century singer known as the Black Swan.

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Gyorgy Kepes

Saturday, March 10th, 1990

GYORGY KEPES paints with a mixture of oil paint and sand, which gives his work a rough, earthy texture. He likes to tell the story of Antaeus, a hero who was the son of Mother Earth and could never be defeated as long as he touched the earth. Painting with sand is Kepes’s way of touching the earth.

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The Starn Twins

Sunday, February 18th, 1990

“It can be frightening, but that’s life,” said Doug. “Art is part of life,” said Mike. “It’s a real part – it’s the essence of life,” said Doug. “There’s no reason to make it perfect,” says Doug. “We want to show the physical nature,” said Mike. “The physical nature,” said Doug. “Of everything, but in particular, Art,” said Mike.

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My Day Without Art

Monday, December 4th, 1989

Standing at the center of the spiral, I see the backs of all the chairs facing away from me, and feel a tremendous shock of loneliness and loss. Looking down from the balcony, I see that the chairs are the beginning of a spiral that could go on forever.

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Ed Ruscha

Friday, September 8th, 1989

From the window of the studio ED RUSCHA had in the 1960’s, he could see a sign reading HOLLYWOOD. The big white letters are as flat an fake as an old, abandoned movie set, crumpled and peeling, with some of the letters falling down. But Ruscha’s many images of that sign make it a real sign, luminous and charged with light.

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Earth Day

Sunday, May 7th, 1989

“It’s all coming from memory,” says ROBERT FERRANDINI. “From fairy tales, from childhood – from imagining. The way I see it, it’s the landscape of the mind. Lots of landscapes came to me from the movies. Fort Apache. Red River. Cheyenne Autumn. The Searchers. The idea of the search – which is what I do as a painter. I go into it. I search.”

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Roger Kizik

Wednesday, April 19th, 1989

ROGER KIZIK’s loopy, staccato line describes fishing boats with names like Frolic or Finast Kind, houses on the beach, the book he is reading or the tool he is using for fixing up his house or boat. The things in his drawings press in on him; they cluster around him, rich with hidden correspondences and secret messages, composing his life.

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Jesseca Ferguson: Distant Views and Forgotten Dreams

Wednesday, February 1st, 1989

JESSECA FERGUSON’s constructions often contain old postcards, which seem to have been sent from places that have long since disappeared. Lost, ruined, or forgotten, they have left behind only pale and ghostly traces. Enshrined in little boxes, like the bones of saints in medieval reliquaries, her work celebrates the sometimes miraculous power of memory to transform the pain and complexity of real life into the stuff of dreams, and art.

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Ritsuko Taho

Wednesday, December 14th, 1988

RITSUKO TAHO’s ever-changing installation is a spare but elegant invitation to participate in a work of art, both literally and metaphorically – by bringing more leaves, and by making a leap of imagination that transforms a heap of trash on a vacant lot into a poem in silver and brown.

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Frances Hamilton: Pieces of Time

Sunday, May 22nd, 1988

FRANCES HAMILTON’s art doesn’t come from the head; it comes from the hand and the heart. And that’s why a show of her work is always so rewarding. Her images stay with you, growing richer and deeper, as time goes by. They trigger memories. Major or minor, they touch a chord.

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Animal as Metaphor

Monday, April 1st, 1985

Artists look at animals: the romantic fantasy animal, the primitive art animal, the hidden drives animal, the whimsical animal, the elemental animal, and other mythical beasts. As Walt Whitman wrote,
“I think I could turn and live with animals, they are so placid and self contain’d,
I stand and look at them long and long.”

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Robert Ferrandini

Saturday, December 1st, 1984

ROBERT FERRANDINI’s early work featured flying saucers and monsters, imagery drawn from a 1950’s childhood spent watching science-fiction movies like When Worlds Collide and The Thing. In his new paintings of imaginary landscapes and seascapes, he has come to some kind of terms with his past and is ready to move on. His spaceship has finally landed in a world of his own making.

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More Than Drawing

Thursday, March 1st, 1984

Drawings as a picture making, story telling, dream machine. Drawings that dance, stretch, yearn, arch, and glide across the page. The pleasures of looking emerge here not from what is observed but from how it is rendered; not the image but the artifice.

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Anne Neely/Robert Ferrandini

Friday, April 1st, 1983

Yet there is exhilaration in the terror, the vertiginous fall. These speedy, violent fantasies of destruction and chaos are tenderly, beautifully described. The drawings in graphite and linseed oil – the oil used wonderfully as color – and the swirls of paint in eerie sea greens or fiery reds compose a balanced, painterly surface. The language of abstraction pulls us upward, as the images plunge us into the abyss.

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New Wave Painting

Tuesday, June 1st, 1982

False masks of plastic beauty are among its moving targets. Desperate to survive the glissando of the word processor and the deadly lull of ordinary life, it rips to pieces the world’s fabric and its skin and puts it back together, obsessively recreating from scraps and scrawls and marks and images the objects of its desire and its rage.

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Work on Paper

Sunday, February 1st, 1981

Each rectangle is like a picture of a picture, moving through a series of transformations. The tremulous drawings are like jottings, hieroglyphics, messages in bottles, unreadable postcards, ideas coming into being, the first appearances of the not-yet-visible, the impalpable images taking form before our eyes.

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Frances Hamilton: Books and Painted Stories

Sunday, February 1st, 1981

FRANCES HAMILTON has refashioned much-loved images, memories, and dreamstransforming them into a fully re-imagined universe. It is this transformation – the serious, difficult task of art – that gives her work its power to enchant.

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