Christine Ritchie at Birmingham Bloomfield Art Center

Christine A. Ritchie (MFA Painting & Printmaking, Pratt Institute, NYC ) lived & worked in NYC for 23 years & currently lives & maintains a studio in the Detroit area. She has worked as an Adjunct Faculty member for Macomb Community College & Kendall College of Art, teaching drawing & foundation courses as well as drawing, painting & AP art history at the High School level. Her work has been exhibited in NYC, Chicago, Memphis, Detroit & Pennsylvania plus Italy, Holland & other countries. Her work is in private collections in NYC, Memphis, Washington DC, Chicago, Detroit & California, as well as Belgium, Holland and Italy. Along with working with the figure, Ritchie has made annual plein air painting excursions since 1997 in both the U.S. & Europe and also produces landscape paintings in the studio.

Christine Ritchie "Passage II Naples" oil on canvas, 36" x 48"

Christine Ritchie “Passage II Naples” oil on canvas, 36″ x 48″

Christine Ritchie II

Christine Ritchie “Return II” oil on paper laid on panel, 30″ x 22″

christine ritchie

Christine Ritchie “Primary Passage VI”  oil on canvas, 36″ x 60″

ABOUT THE EXHIBITION

Christine Ritchie
Christine Ritchie
Kip Kowalski
Kip Kowalski
"Simultaneous Contrast" Christine A. Ritchie and Kip Kowalski
“Simultaneous Contrast”
Christine A. Ritchie and Kip Kowalski
"Simultaneous Contrast" Christine A. Ritchie and Kip Kowalski
“Simultaneous Contrast”
Christine A. Ritchie and Kip Kowalski

Throughout art history the female form has been a subject of artists. The two artists in this exhibit react to the same figure, in a shared studio at the same time with very diverse outcomes.Christine Ritchie is interested in the figure as a vehicle in transit through space & looks for rhythms created by the human form as it moves through & beyond or into the picture space.

Kip Kowalski gravitates to the comically grotesque & obscenely ugly. He explores the figure in search of gestures & shapes as a beginning & then proceeds to create a narrative that deals with his extreme subject matter using a surreal mix of metaphors, visual distortions & slapstick humor.

Both artists handle the concepts of space in which the figure occupies on the picture plane. Kip by creating an environment in which the figure(s) lives. Christine allows the figure(s) to create space through which it moves.

While Christine approaches the figure externally with an immediate alla prima process, Kip internalizes the human form to express & combine the psychological realities of his personal vision.

The duality of nature in these works are evidence of the very different “eyes” we each possess & how we see & react to the world around us.

Simultaneous Contrast
Christine A. Ritchie and Kip Kowalski
September 8 – October 13, 2017
Opening Reception with artists
September 8th, 6 – 8 pm
Birmingham Bloomfield Art Center
Birmingham, MI

FRAMING SPECIFICATIONS


121AH00

FLOATING FRAMES

Deep Floating Profile: 121
Type: floating frame for 1-1/2″  deep canvas paintings
Wood and Finish: unfinished ash wood frame
Purchase Option: unjoined wood frame cut to size with wedges
Framing Advice: fitting gallery frames



Rachel Doniger – Cut Paper Reliefs

About+Rachel

Rachel Doniger’s paper reliefs investigate the graphic potential of paper. A simple process of cutting and folding thousands of similar shapes yields a field defined by moments of intensity and calm. As the viewer’s glance moves from one shape to the next, they see not only a crescendo from low to high, but also the relationship between the two. Space, as perceived by the viewer, becomes an inseparable part of the image. In this way, the classic opposing relationship of figure and ground (or field) is turned on its head. If we think of figure not as an object read against a field, but as an effect emerging from the field, then we can understand figure and field to be closely aligned.

Rachel Doniger, a former architect, has been exhibiting her paper reliefs since 2014. Notable exhibition venues include the Arvada Center for the Arts, Blue Print Store, Redline Gallery and Ice Cube Gallery. Her work resides in the collection of the Chicago Ritz Carlton and in private collections across the United States.

Rachel lives in Denver, Colorado with her husband and two children. She spends much of her time outdoors observing the natural landscapes that inform her work.

Rachel Doniger (American, b. 1979). Infinity I-VI, 2016. Cut Paper Reliefs. © Rachel Doniger

Rachel Doniger (American, b. 1979). Infinity I-VI, 2016. Cut Paper Reliefs. Private Collection, Dallas, Texas. © Rachel Doniger

1. Rachel Doniger (American, b. 1979). Untitled I-VI, 2017. Cut Paper Reliefs. Ritz Carlton Chicago Collection. © Rachel Doniger

Rachel Doniger (American, b. 1979). Untitled I-VI, 2017. Cut Paper Reliefs. Ritz Carlton Chicago Collection. © Rachel Doniger

Plicare

ABOUT THE EXHIBITION

Paper.Works which includes the works of twenty artists who use paper as their artistic medium. From cast paper to cut paper, folded paper to handmade paper.  The Paper.Works exhibit is on view at the Arvada Center for Arts and Humanities. Since its opening in 1976, the award winning Arvada Center for the Arts and Humanities has grown to become one of the nation’s largest multidisciplinary arts centers.

PAPER.WORKS

June 1 – August 20, 2017
Arvada Center for the Arts & Humanities
Arvada, Colorado

FRAMING SPECIFICATIONS AND ADVICE

101mp01 - Version 2

METRO GALLERY FRAME

Thin Profile: 102
Type: Floating Gallery Frame
Wood & Finish: walnut frame with clear lacquer finish
Custom Wood Spacer: 1/2″ wood frame spacer
Custom Wood Strainer: 1/2″wood frame strainer
Purchasing Option: joined wood frame
Framing Advice: fitting gallery frames



Lynette McCarthy “Life after Death” MFA exhibition

This series provides an extended look at the physical and psychological shifts that occur when negotiating the role of widower. My work chronicles one of the eldest members of my family, documenting the everyday while providing a critique on the quiet and isolating conditions of his current stage of life. I am primarily concerned with the experience of death, the issues of bereavement and memory, and how these conditions redefine the self.

"Looking For Midnight" © LynetteMcCarthy
“Looking For Midnight” © LynetteMcCarthy

My photographs predominately speak to my great-uncle’s lived experience through the domestic space. I evoke my late aunt’s presence, as evident throughout the details of their home. Burdened with reflective loss and stagnation, the home operates as a mausoleum of sorts, maintaining the appearance of their married life. My images acknowledge my aunt’s absence and her continuing presence, but also recognize my uncle’s unalterable sense of loss.

"The Silent Generation" © LynetteMcCarthy
“The Silent Generation” © LynetteMcCarthy
"Lear" © LynetteMcCarthy
“Lear” © LynetteMcCarthy

Although my images push the boundary of family photography, they parallel the social and emotional communication of the family album. Much like family photos, they can be interpreted as ways of understanding the familial, but avoid the cliché, celebratory occasions and instead, provide a visual record of everyday experiences.

My intention with this body of work is to transgress against the modern discourse of death and grief by capturing subtle but poignant moments as a strategy that confronts this stage of life while simultaneously highlighting an otherwise socially opaque group in contemporary society.

"Ham Hock Soup" © LynetteMcCarthy
“Ham Hock Soup” © LynetteMcCarthy
"The Rifleman" © LynetteMcCarthy
“The Rifleman” © LynetteMcCarthy
McCarthy_Lynette_3 (3)

Lynette McCarthy
“Life After Death”

MFA Exhibition
April 7, 2017 – May 21, 2017
Snite Museum of Art
University of Notre Dame
Notre Dame, IN

FRAMING SPECIFICATIONS AND ADVICE

101mp01 - Version 2

METRO GALLERY FRAME

Profile: 106 and Profile: 102
Type:  standard gallery frame and thin gallery frame
Wood & Finish: walnut wood frame with clear lacquer finish
Purchasing Option: joined wood frame with contrasting splines
Custom Wood Strainer: 3/4″ wood frame strainer with crossbar
Framing Advice: fitting gallery frames



STILLNESS: DRAWINGS BY SKIP STEINWORTH at Evansville Museum

I can’t remember a time when I wasn’t making drawings. Some of my earliest memories are from family summer vacations at my parent’s friends’ lake cabin, watching my father sketch the dock or the boat house or the potbellied stove. To me, it seemed like magic; I wanted to be able to do it myself. For most of my more than 35-year-career as a professional artist, I’ve created works almost exclusively in graphite pencil. The medium has always had a fundamental appeal for me. It’s direct and uncomplicated. As such, it is well suited to my sensibility and to my imagery, style, and working methods, all of which are equally straightforward.My work is representational, which to me means more than achieving a pictorial illusion. It is an investigation of our perceptions of the seeable world, an effort to determine what makes things visually “tick”, and to understand what exactly it is that allows us to make sense of what we see. It is an attempt to comprehend and reveal the nature of the interactions of light, space, and form. The process consists of mentally deconstructing, analyzing and distilling a visual essence of the subject which is then “re-presented” to the viewer.Still-lifes have been my primary subject matter. The objects in these arrangements are generally commonplace but are also chosen because of a timeless, almost generic quality I feel they possess. I’ve purposely composed them to be neither time nor place-specific, including only slight, often incongruous, hints of their contemporaneity or significance to me as the artist. Similarly, my landscapes offer no reference to a particular time or place, although their precision and detail suggest an actual location.Despite their simplicity and lack of context (or perhaps because of it) they create intriguing and evocative images. If anything, they are perhaps simply suggestive of the quietude and contemplative environment in which they were created.
Skip Steinworth "White Flowers in Bright Light" 22.5" x 29.5"
Skip Steinworth “White Flowers in Bright Light” 22.5″ x 29.5″
Skip Steinworth "Two Pears" 14" x 10"
Skip Steinworth “Two Pears” 14″ x 10″
Skip Steinworth "Apple" 14" x 11"
Skip Steinworth “Apple”
14″ x 11″
Skip Steinworth "Nest #5" 13.5" x 16.5"
Skip Steinworth “Nest #5″
13.5″ x 16.5”
Skip Steinworth "Paper Bag and Onions" 25.5" x 19.5"
Skip Steinworth “Paper Bag and Onions” 25.5″ x 19.5″
Skip Steinworth "Shoreline, Still Water" 20" x 30"
Skip Steinworth “Shoreline, Still Water”
20″ x 30″

About the Artist
Skip Steinworth lives and works in Stillwater, Minnesota, an historic river town on the outskirts of the Twin Cities along the St. Croix River. His interest in art began at a very early age; by his teens he was selling work in local galleries. After earning their college degrees in the early 1970s, he and his wife taught art in Melbourne, Australia. They returned to Minnesota and both began careers as full-time studio artists. Steinworth works exclusively in pencil and his drawings are included in the permanent collections of the Minneapolis Art Institute, the Art Institute of Chicago, the Plains Museum in Moorhead, Minnesota, the University of North Dakota, and Arkansas Arts Center in Little Rock as well as in numerous private collections. He is represented by the Jenkin Johnson Galleries in San Francisco and New York and the MA Doran Gallery in Tulsa, Oklahoma.

STILLNESS: DRAWINGS BY SKIP STEINWORTH
February 27 –  May 14, 2017
Evansville Museum  Evansville, Indiana

Profile: 102 Wood: Maple Finish: 14 charcoal

FRAMING SPECIFICATIONS AND ADVICE

102MP13

METRO GALLERY FRAME

Profile: 102
Type: Thin Gallery Frame
Wood and Finish: maple frame with charcoal finish
Purchasing Option: joined wood frame
Custom Wood Strainer: 1/2″ wood frame strainer
Framing Advice: fitting gallery frames



Tom Bamberger “Hyperphotographic” at Museum of Wisconsin Art

For the first time in history, the Museum of Wisconsin Art (MOWA) will dedicate all four of its changing exhibition spaces to the work of a single artist – Tom Bamberger. Hyperphotographic is Bamberger’s first major retrospective which will feature more than 100 photographs – some up to 35’ in scale. MOWA will open the exhibition on March 25, 2017, and celebrate his recent gift of nearly 400 photographs to the museum’s permanent collection.

In his earliest work, Bamberger favored photographing tarred, painted and crumbled pavement. For nearly two years, he worked to give new meaning to the definition of street photography. Pavement soon gave way to flesh in a large and cohesive group of photographs of women’s faces and bodies. Shot with a laser-recording film and high-powered strobes at close range, these heads and torsos are neutral and asexual with oiled skins, gaping pores and fields of body hair that take shape into to more corroded pavement.

TomBamberger_Untitled (Shannon)

Tom Bamberger, Untitled (Shannon), Gelatin silver print, 1982, Museum of Wisconsin Art

Gradually, Bamberger distanced his lens to from heads and torsos to include full shots of people as well as their surroundings. He established a reputation for black-and-white psychological portraits shot in controlled interior environments.

TomBamberger_Fred L Brengel

Tom Bamberger, Fred L. Brengel, Gelatin silver print, 1984, Museum of Wisconsin Art

Throughout the 1980s, in seemingly two-year increments, he moved through series after series of increasingly complex groupings of figures and relationships, starting with family and friends (Jane and Sophie, 1986), the country club set, and diners in cafés and ice cream shops.

Jane and Sophie

Tom Bamberger, Jane and Sophie, Gelatin silver print, 1986, Museum of Wisconsin Art

Over the years, as he increasingly distanced his lens and figures grew smaller until the tortured narrative of suburban life disappeared altogether, leaving only empty fields and horizon lines. By the 1990s, he had tapped into the zeitgeist of Donald Judd and Agnes Martin. Pure landscapes had evolved into minimalist experiments with accentuated horizon lines surrounded by broad expanses of white paper. No longer photographs of places per se, Bamberger’s works now straddled the line between traditional photography and contemporary art, and therein lays their compelling visual power.

TomBamberger_BrownGrass

Tom Bamberger, Brown Grass, Inkjet pigment print face mounted on plexi, 2003, Museum of Wisconsin Art

TomBamberger_Windmills

Tom Bamberger, Windmills, Inkjet pigment print face mounted on plexi, 2006, Museum of Wisconsin Art

Most recently, Bamberger used a robotic GigaPan camera to produce works that hover alluringly between specificity and universality with subjects that register immediately as both somewhere and nowhere. Civil Twilight, a behemoth at 35 feet, took more than forty-five minutes of camera time to record the setting sun. The result is a physical and temporal composite that defies definitions of photography as a captured moment and further evolves the idea of a landscape of “no place in particular.”

TomBamberger_OK

Tom Bamberger, OK, Digital mixed media, 2013, Museum of Wisconsin Art

TomBamberger_PetesWorld

Tom Bamberger, Pete’s World, Inkjet pigment print face mounted on plexi, 2014, Museum of Wisconsin Art

 

ABOUT THE ARTIST

Bamberger continues to live and work in Milwaukee. A graduate of the University of Wisconsin-Milwaukee, Bamberger is an artist and writer whose essays on architecture and urban design have garnered many awards.  As curator of photography at the Milwaukee Art Museum, a position he held for ten years, Bamberger produced the first Andreas Gursky museum show in America in 1998.  Tom also served as director of the Perihelion gallery, an alternative arts space, and initiated Art Futures, a grants program for local artists. His works have been collected by museums throughout the U.S. including the Museum of Modern Art in New York and San Francisco, Museum of Fine Arts in Houston, among many others. He has received a National Endowment for the Arts Fellowship and was awarded the White Award for city and regional magazines five times. Bamberger is represented by Leslie Tonkonow Artworks and Projects, New York.

 

Tom Bamberger
“Hyperphotographic”
March 25–May 21, 2017
MOWA (Museum of Wisconsin Art)
West Bend, WI

FRAMING SPECIFICATIONS AND ADVICE

114MP13

METRO GALLERY FRAME

Profile: 114
Type: Thin Gallery Frame
Wood & Finish: maple frame with black opaque finish
Purchasing Option: joined wood frame with matching splines
Framing Advice: fitting gallery frames

 

114MP15

METRO GALLERY FRAME

Profile: 114
Type: Thin Gallery Frame
Wood & Finish: maple frame with white opaque finish
Purchasing Option: joined wood frame with matching splines
Framing Advice: fitting gallery frames



David Wiesner & The Art of Wordless Storytelling at Santa Barbara Museum Of Art

David Wiesner & The Art of Wordless Storytelling is the first comprehensive retrospective devoted to this internationally recognized master of the picture book. The exhibition includes nearly 70 original watercolors handmade by David Wiesner (b. 1956) for nine of his most famous books, including three for which he won the prestigious Caldecott Medal: Tuesday (1992), The Three Pigs (2002), and Flotsam (2007).

Mr Wuffles 10inch

David Wiesner, Mr. Wuffles!, pg. 8, 2013. Watercolor and india ink on paper. Courtesy of the artist.

Fish Girlssm

David Wiesner, Fish Girl, pg. 168-169, 2016. Watercolor and ink line on paper. Courtesy of the artist.
 

Art & Max 2 15inch

David Wiesner, Art & Max, pg. 25, 2010. Watercolor, acrylic and poster paint on paper. Courtesy of the artist.

Flotsam 1

David Wiesner, Flotsam, pg. 19, 2006. Watercolor on paper. Courtesy of the artist.

 

Tuesday 1

David Wiesner, Tuesday, pg. 10-11, 1991. Watercolor on paper. Courtesy of the artist.

 

This is the first exhibition that seeks to contextualize the work of a noted, so-called “children’s book illustrator” in the greater art-historical context of not just the contemporary visual culture of comic books and major motion pictures, but also the more somber realm of social critique, practiced so effectively in the 19th century by the likes of Honoré Daumier and continued with gusto by his avant-garde followers between the World Wars. In the case of David Wiesner, many strands of influence are apparent in his now revered approach to wordless storytelling. As explored in the accompanying catalogue, one easily detects the artist’s early attraction to surrealist masters of the 20th century (Salvador Dalí, Max Ernst, and René Magritte), combined with an abiding fascination with the story-telling techniques of such American pioneers of the illustrated picture book as Lynd Ward (1905–1985), and the indelible impressions made by Ward’s earlier European counterparts, Otto Nückel (1888–1955) or Franz Masereel (1889–1972).

The charm of these wordless narratives is apparent; but the actual process by which Wiesner achieves this seemingly effortless effect of visual wit is not often fully apprehended, especially if limited to the reproductions of the illustrated books. Viewing the original works reveals the multiple layers of watercolor that he uses to create the opaque, exquisitely nuanced hues that bring each piece to life.

David Wiesner & The Art of Wordless Storytelling
January 29, 2017 – May 14, 2017
Santa Barbara Museum of Art
Santa Barbara, California

June 18, 2017 – November 5, 2017
Eric Carle Museum of Picture Book Art
Amherst, Massachusetts

FRAMING SPECIFICATIONS AND ADVICE

Capture0002-712_114MP05_700

METRO GALLERY FRAME

Thin Profile: 114
Type: Thin Gallery Frame
Wood and Finish: maple wood frame with pickled white finish
Purchasing Option: joined wood frame
Framing Advice: fitting gallery frames



Humanism + Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky at the The Art Institute of Chicago

“What gives the strength of dynamite to the photo-poster and pamphlet? First of all, its motto is humanism. And, of course, the ability to see in subjects something new, that which others do not see, but that they should by all means see.”—Aleksandr Zhitomirsky, The Art of Political Photomontage, 1983

Zhitomirsky began publishing drawings in 1929. He established his reputation as a leading propaganda artist in World War II, when he adopted the techniques of celebrated German photomonteur John Heartfield to striking effect. Zhitomirsky’s photomontage leaflets, dropped on German troops by plane as part of an extensive psychological warfare campaign, caught the attention of many Nazi troops and, reportedly, of Reich Propaganda Minister Joseph Goebbels. “Choose! Like This or Like That” read the pamphlets in German, inviting soldiers to lay down their guns to spare their lives or perish in the long Russian winter, as many did.

Alexandr Zhitomirsky. It’s Time to Shoot Yourself, Herr Göring!, 1941. Ne boltai! Collection. © Vladimir Zhitomirsky.

Alexandr Zhitomirsky. It’s Time to Shoot Yourself, Herr Göring!, 1941. Ne boltai! Collection. © Vladimir Zhitomirsky.

Following the war, Zhitomirsky adapted his techniques and motifs to new current events: echoes of Hitler and Goebbels, for example, shaped representations of Harry Truman and Winston Churchill.

 

IM015993_press-1

Aleksandr Zhitomirsky. Harry Truman: The Hysterical War Drummer, 1948. Ne boltai! Collection. © Vladimir Zhitomirsky.

Over time, however, a roster of new objects, and particularly animals, came to life in Zhitomirsky’s work. An airborne scorpion with the head of Uncle Sam, a lion in glasses devouring minarets and oil derricks, simians of various descriptions delivering harangues on television or sporting Wall Street suits—Zhitomirsky’s gift for grotesque satire became more compelling as it grew more fantastical.

IM015996_press

Aleksandr Zhitomirsky. A Capitalist Shark, 1965. Ne boltai! Collection. © Vladimir Zhitomirsky.

“Humanism + Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky”
September 3, 2016–January 10, 2017
Art Institute of Chicago
Chicago, IL

FRAMING SPECIFICATIONS AND ADVICE

Profile: 114 Wood: Maple Finish: black

GALLERY FRAMES

Thin Profile: 114
Type: Thin Gallery Frame
Wood & Finish: maple wood frame with 13 black opaque finish
Purchasing Option: joined wood frame with splines
Framing Advice: fitting gallery frames



Jerome Hershey ” New Strokes + Words” at Pennsylvania Arts Experience

IMG_9123

“I make number and text based, color oriented abstract paintings and drawings.

The paintings are created by repeating and layering the words or numbers found in the title of the piece. I use my own handwriting, fragment each letter or number and assign colors to every unit. Repeated over and over, the words become purposefully illegible, serendipitous rhythms of lines and colors in transition. I am interested in the “flow” the marks make, rather than any hint at legibility.”

I consider the Stroke Studies (2014 – present) to be joyful research and development. Although these paintings began as a possible means to add more “hand” to the grounds of my text-based paintings, they have developed into an ongoing inquiry and stand on their own as finished works. 

paarts2010

The exhibition is at the Pennsylvania Arts Experience (PAE). The PAE is a non-profit arts organization promoting the arts along the scenic river valleys of southeastern Pennsylvania. This region is teaming with a wide array of contemporary painters, weavers, quilters, printmakers, potters, glassblowers, woodworkers, etc., many with national or international reputations, working in unique and spectacular studios located in renovated barns or adaptively reused buildings in the small towns along the way. In addition to offering museums, galleries and studios with public hours, the PAE Artist Trail features exclusive “behind-the-scenes” tours of many of these artists’ studios not usually open to the public, allowing the visitor to interact with the artists and gain insight into their creative process, as well as providing the opportunity to help support the artists’ creative work through the direct purchase of original works of art.

 

PLANNING AN EXHIBITION

All good exhibits require an attention to detail and planning ahead. Making the art, ordering frames, fitting the artwork, and display are all critical to overall success of the exhibit.  Hershey has sent us some work in progress photos to document the process. I think you will agree it was worth the effort.  

A model of the exhibit is made a month before to show where each image would be hung.
A model of the exhibit is made a month before to show where each image would be hung.
Artwork is positioned on the wall and frames arrive from Metopolitan Picture Framing.
Artwork is positioned on the wall and frames arrive from Metopolitan Picture Framing.
The framing proceeds. All 65 frames are fit and ready to be wired!
The framing proceeds. All 65 frames are fit and ready to be wired!
The finished product.
The finished product.

“New Strokes + Words”
June 3 – June 28, 2016
Talk: 11 am Saturday June 18th
Pennsylvania Arts Experience
York, PA

 

Profile: 114 Wood: Maple Finish: unfinished

GALLERY FRAMES

Thin Profile: 114
Type: thin gallery frame
Wood & finish: maple wood frame with clear and black finishes
Purchasing Options: joined wood frame
Framing Advice: fitting gallery frames



Jennifer Nagle Myers at 707 Gallery

Waterfall Vision is a collection of new and recent artwork inspired by the human body in relationship to the earth body. The show will include drawings, paintings, installation and performance that seek to unearth a new alphabet of form, mark, and material.

 S P E C I A L    E V EN T S :
March 18 – Bicentennial Pittsburgh Gallery Crawl
6 -7 p.m / Weather Permitting: 
 Durational Performance WIth Charcoal, Rope, Chalk, and Flowers
Inspired by 200 Years of Pittsburgh History
At Specific Sites throughout the Cultural District and in the Gallery, TBD

Saturday April 2 – Activist Panel and Discussion
4 – 6 p.m.
Join us to discuss how the earth body and the human body are related
and how that connects to our work as activists and artists.  
We will focus on local and global issues, from the personal to the political.
Activists and artists from Pittsburgh and Washington County will be present.

Friday April 8 – Performance and Artist Talk
6 – 8 p.m.
Gia T. Cacalano will present new work inspired by the show and the materials in the space.
Her performance will be followed by my artist talk.

 

waterfall vision
"There Used To Be A River"Black ink with letterpress Poem by JNM Letterpress by Tip Type
"The Higher The Trail" Black Ink with letterpress Poem by Shide Letterpress by Tip Type

“There Used To Be A River”

Black ink with letterpress

Poem by JNM

Letterpress by Tip Type

Paper size: 8.5” x 5.5”

“The Higher The Trail”

Black Ink with letterpress

Poem by Shide

Letterpress by Tip Type

Paper size: 8.5” x 5.5”

Jennifer Nagle Myers
W A T E R F A L L    V I S I O N
Solo Exhibition of New Work
707 Gallery
March 4 – April 10
Pittsburgh, PA

FRAMING SPECIFICATIONS AND ADVICE

Capture0002-712_114MP05_700

GALLERY FRAMES

Thin Profile: 114
Type: Thin Galley Frame
Wood & Finish: unfinished maple wood frame
Purchasing Options: joined wood frame with contrasting splines
Custom Frame Acrylic: acrylic cut to size
Custom Frame Mat: 8 ply white museum mat
Custom Frame Backing Board: acid free backing cut to size



Andrew Wykes “Hinterlands”

Painted with heavy impasto, Wykes builds his landscapes with a palette knife, introducing rhythmic lines and facets of lively color into his compositions. This contemporary approach to the genre of landscape paintings gives Wykes’ images a unique aesthetic. Rooted strongly in the gesture of drawing, his paintings reveal the energy and diversity of the landscapes to which he has traveled over the past two years. Drawn to quiet, rural locales, Wykes’ new paintings document hinterlands – areas just beyond a coastline or shoreline of a river. In this show, Wykes explores the hinterlands in both Lacken Strand, Mayo, a seaside town in western Ireland, and near his home in Northfield, a small town situated along the Cannon River in southern Minnesota. Of his current paintings, Wykes writes:

I seek to create a balanced dialog between the intellectual and emotional. I paint the geography of where I find myself, in the United States and overseas in Britain and Ireland. These places are eclectic and don’t always have any deep attraction for me, yet there is a bond established through my art-making, which takes place on-site and in the studio. I work with a variety of mediums – oil, acrylic, tempera and collage. However, the goal is always the same: to paint an authentic response to the places I have experienced, and translate that experience from the three-dimensional landscape to the flat surface of my paintings.

           

Andrew Wykes "Lacken Strand 2" acrylic on paper, 2015, 22" x 30”
Andrew Wykes
“Lacken Strand 2″
acrylic on paper, 2015,
22” x 30”
Andrew Wykes "Lacken Strand 1" acrylic on paper, 2015, 22" x 30”
Andrew Wykes “Lacken Strand 1″ acrylic on paper, 2015, 22” x 30”
Andrew Wykes "Lacken Strand 10" Acrylic on canvas, 2015, 40" x 30”
Andrew Wykes
“Lacken Strand 10″
Acrylic on canvas, 2015, 40” x 30”

Andrew Wykes
“Hinterlands”
January 23 – February 27, 2016
Groveland Gallery
Minneapolis, MN 

Opening Reception:
Saturday, January 23, 2-5 p.m.

 

FRAMING SPECIFICATIONS AND ADVICE

Painted black gallery frame with spacer and strainer

METRO GALLERY FRAME

Thin Profile: 102
Type: floating gallery frame
Wood & Finish: poplar wood frame with ebony finish
Purchasing Options: joined wood frame
Custom Wood Spacer: 3/4″ wood frame spacer
Custom Wood Strainer: 1/2″ wood frame strainer
Custom Frame Acrylic: acrylic cut to size
Custom Cut Matboard: 4 ply white museum board cut to size
Custom Frame Backing Board: acid free foamboard cut to size
Framing Advice: fitting gallery frames