- Beacon Art Supply will be hosting a closing party on Wednesday, Feb 11 from 6-8pm. Details are at beaconite.ning.com. A silent auction will be held for a selection of items, and there are deals a plenty on the remaining inventory, as the party will mark the beginning of 60% markdowns on art supplies an remaining items from Burlock.
- Erica Hauser is opening up shop again at 469 Main. From Feb 9-14, you can stop into the Valentine Cupcake shop for handmade goodies, edible and not- for that special cupcake in your life. The approximate hours for the shop are: Feb 9-13, 2-6 pm. Feb 14, 1-8 pm.
- Daniel Weise of Open Space has been named one of the Greater Souther Dutchess Chamber of Commerce's Top Under 40 for 2009 as part of the organization's 4th Annual Shaker Awards. We're not talking about this kind of Shaker. The Shaker awards recognize folks under the age of 40 who are committed to shaping the region in a positive manner. A reception for which will be held on March 9th.
- Be sure to stop into Van Brunt Gallery to chew a bit of gum. Steve Rossi is casting other people's ABC gum as part of the endeavors taking place at the HFA Goes Inside at the Gallery.
- Harry Shearer's Silent Echo Chamber on view through today at the Aldrich Art Museum in Ridgefield CT was included as a feature on CNN last week. The piece was also featured on a segment on NPR's Talk of the Nation program in January.
- Via the Artful Manager, a compilation of content on the renewed debate of Federal funding of arts an culture vis a vis the economic stimulus plan.
- Because I'm lazy and I usually have more than enough on my plate already, I can't always hunt down new information, and things fall away from my attention. The Ann Street Gallery in Newburgh represents such an instance. The website for the gallery points to a static business card type placeholder with location and phone number, and emails from the gallery have either stopped coming to me, or they've been swallowed by my spam filter. But I've found a better portal through which to get news of the gallery which is the gallery's parent organization, safe-harbors.org Currently, the gallery is showing Art Brut, an exhibit of work by Bob Justin, Bill Marlieb, Dickie Peterson, Matt Sesow, Susan Ward and William Yost.
- In a similar vein, for anyone who's been frustrated in learning too late about upcoming art related lectures and events at Vassar, the college has a new online calendar that should prove more effective (definitely not perfect, but it's an improvement).
- Last week when I posted info on the Newburgh Art Supply, I neglected to include information on the store's custom picture framing services provided by Eric Jarmann. Jarmann's presence at the art supply store is by appointment only, so contact him at 845 238 7640 or by email at eric[dot]jarmann[at]gmail[dot]com.
- Ty Marshal of Floor One Gallery posits the concept of an arts covenant.
- Finally, it's becoming exceedingly evident that Facebook is reaching a critical mass here in our fair community, potentially causing ideological rifts between those who FB and those who FB not. Evidence of the sweeping phenomena could be found in a conversation had this weekend between five unnamed artists regarding the true implications of getting poked and the most effective way to evade the attention of a possible grade school stalker emerging from the fog of one's past.
Below is a glimpse into Facebook's ethos transposed into real life. (I found it on Peter Iannarelli's profile.)
Showing posts with label Aldrich Art Museum. Show all posts
Showing posts with label Aldrich Art Museum. Show all posts
Sunday, February 08, 2009
Random Roundup
Thursday, April 03, 2008
Aldrich Museum's Radius 2008 program
The Aldrich Art Museum's professional develpment program for artists known as Radius includes three separate workshop programs, the first of which will be held at the Garrison Arts Center on April 12 from 2-5pm, and it will focus on Artist websites and other promotional aspects of the internet. Two other workshops on the ins and outs of studio visits and strategic planning for artists will also be held in the coming weeks.
The Aldrich's annual "For Artists Only" event will be held on May 31, 6:30-8:30 pm.
Visit aldrichart.org for more details on dates, fees, registration deadlines and such.
The Aldrich's annual "For Artists Only" event will be held on May 31, 6:30-8:30 pm.
Visit aldrichart.org for more details on dates, fees, registration deadlines and such.
Sunday, November 04, 2007
The Aldrich Revisited
Meticulously rendered is how one can describes a majority of the exhibits on view currently at the Aldrich. We headed out to see Charlotte Schulz's exhibit during the opening reception on September 15.
I believe there are five separate exhibits at the Museum right now.
On the first floor, Marti Cormand's work consists of highly photo realistic works of rugged, remote landscapes rendered in oil or watercolor, many with monochromatic scenes highlighted with the components of a highly colored, fantastical infrastructure. My favorite works were the black and white watercolor pieces with the additions of these cartoon structures. The larger oils had less substance and seemed to exist more for the demonstration of technical prowess than any other purpose, and another series of oil on paper pieces, though wonderfully rendered began to feel gimmicky.
As I walked into in the gallery of James Prosek's exhibit "Life and Death-A Visual Taxonomy," something struck a note of familiarity within me. Later, I recalled having read and clipped out an Inc. magazine article from 1999 about a brand and mini-merchandising industry being created around a precocious 23 year old angler and illustrator. That brand in the making was James Prosek.
This current exhibit follows the meme of the naturalist as artist, a la James Audubon. This exhibit is very much like a contemporized Audubon redux, except, I don't see anything being either added to the vernacular or exploiting it for conceptual purposes as others have done . I don't mean to take anything away from him, but to equate the addition of decorative, colored contour lines emanating from the extremities of Prosek's illustrated birds with "his increasing conceptual approach to his work" is a stretch. These colored arcs of 'conceptualism' feel more akin to what I'd expect to find on a throw pillow on the Golden Girls' sofa. The truly engrossing part of this exhibit is the collection of taxidermied birds laid out on either their backs and bellies on small platforms floating about three or four feet off the ground. The elegance and sensitivity conveyed by these specimens in the manner in which they've been prepared, by the artist himself, could almost stand alone as an exhibit - minus the clever arcs of red decorating the platforms on which they sit. The exhibition literature invokes the names of Mark Dion and Alexis Rockman as Shazia Sikhander and Nusra Latif Qureshi as sharing qualities with Prosek's work. But Prosek is not Mark Dion, and framing his work in such terms feels as if Martha Stewart were allowed to claim jump on Andrea Zittel's territory.
Next was Charlotte's show, "A Insufficiency in our screens," and by far, it's the one I enjoyed most. I know I sound like a major hometown booster, but that is my assessment. I enjoy her work, although there is so much imagery blending together that it's really hard to digest in one short sitting, and with so many pieces together, it's a lot to take in. But the show is installed well, the pieces work well on the rust colored walls, which we learned from Charlotte's' husband is the color in their bedroom(sort or an insider's tip.) I was pleased to see the added element of applying her drawing to bent and folded paper. I'm intrigued by the quality it brings to the work. It's the physical manifestation to what she's been creating pictorially for some time; bending moment and reality in and out of view. I find the spacial dimension really appealing, and I see exciting possibilities with this direction of the work.
Outside the museum is a piece by Michael Somoroff called "Illumination". It looks like a miniature iceberg/band shell. The sculpture, which when seen from inside the museum where it is viewed from the rear(I think) portends an ominous, but graceful discovery around its bend. However, walking around the piece was utterly disappointing, and it took on the semblance of a piece of playground equipment lacking the fun. I don't intend to be overly cheeky, but as I'm writing this, I'm thinking of the Lyle Lovett Lyrics:
The effectiveness of the piece is enhanced by the accompanying literature that explains that the form is basically a physical manifestation of a volume of illumination as light enters through the window of a virtually created mosque.
In any case, this is of those instances where the concept of a piece is far more satisfying and interesting than its execution.
I believe there are five separate exhibits at the Museum right now.
On the first floor, Marti Cormand's work consists of highly photo realistic works of rugged, remote landscapes rendered in oil or watercolor, many with monochromatic scenes highlighted with the components of a highly colored, fantastical infrastructure. My favorite works were the black and white watercolor pieces with the additions of these cartoon structures. The larger oils had less substance and seemed to exist more for the demonstration of technical prowess than any other purpose, and another series of oil on paper pieces, though wonderfully rendered began to feel gimmicky.
As I walked into in the gallery of James Prosek's exhibit "Life and Death-A Visual Taxonomy," something struck a note of familiarity within me. Later, I recalled having read and clipped out an Inc. magazine article from 1999 about a brand and mini-merchandising industry being created around a precocious 23 year old angler and illustrator. That brand in the making was James Prosek.
This current exhibit follows the meme of the naturalist as artist, a la James Audubon. This exhibit is very much like a contemporized Audubon redux, except, I don't see anything being either added to the vernacular or exploiting it for conceptual purposes as others have done . I don't mean to take anything away from him, but to equate the addition of decorative, colored contour lines emanating from the extremities of Prosek's illustrated birds with "his increasing conceptual approach to his work" is a stretch. These colored arcs of 'conceptualism' feel more akin to what I'd expect to find on a throw pillow on the Golden Girls' sofa. The truly engrossing part of this exhibit is the collection of taxidermied birds laid out on either their backs and bellies on small platforms floating about three or four feet off the ground. The elegance and sensitivity conveyed by these specimens in the manner in which they've been prepared, by the artist himself, could almost stand alone as an exhibit - minus the clever arcs of red decorating the platforms on which they sit. The exhibition literature invokes the names of Mark Dion and Alexis Rockman as Shazia Sikhander and Nusra Latif Qureshi as sharing qualities with Prosek's work. But Prosek is not Mark Dion, and framing his work in such terms feels as if Martha Stewart were allowed to claim jump on Andrea Zittel's territory.
Next was Charlotte's show, "A Insufficiency in our screens," and by far, it's the one I enjoyed most. I know I sound like a major hometown booster, but that is my assessment. I enjoy her work, although there is so much imagery blending together that it's really hard to digest in one short sitting, and with so many pieces together, it's a lot to take in. But the show is installed well, the pieces work well on the rust colored walls, which we learned from Charlotte's' husband is the color in their bedroom(sort or an insider's tip.) I was pleased to see the added element of applying her drawing to bent and folded paper. I'm intrigued by the quality it brings to the work. It's the physical manifestation to what she's been creating pictorially for some time; bending moment and reality in and out of view. I find the spacial dimension really appealing, and I see exciting possibilities with this direction of the work.
Outside the museum is a piece by Michael Somoroff called "Illumination". It looks like a miniature iceberg/band shell. The sculpture, which when seen from inside the museum where it is viewed from the rear(I think) portends an ominous, but graceful discovery around its bend. However, walking around the piece was utterly disappointing, and it took on the semblance of a piece of playground equipment lacking the fun. I don't intend to be overly cheeky, but as I'm writing this, I'm thinking of the Lyle Lovett Lyrics:
Now I crept up from behind her/She looked so fine to me/But when I stepped around her man/My eyes could plainly see/She was ugly from the front/She was ugly from the front/...And I said ugly-ugly-ugly-ugly-ugly.....Of course, let's remember, lest the critic gets to be too big in own heady sense of self, the song reminds him: "But you ugly too."
The effectiveness of the piece is enhanced by the accompanying literature that explains that the form is basically a physical manifestation of a volume of illumination as light enters through the window of a virtually created mosque.
In any case, this is of those instances where the concept of a piece is far more satisfying and interesting than its execution.
Monday, October 22, 2007
Brown Bag tour: Charlotte Schulz at the Aldrich, Oct. 24 11-1pm
Charlotte Schulz will be on hand for a discussion of her work as part of the series of Brown Bag Tours & Discussions at the Aldrich Contemporary Art Museum in Ridgefield, CT.
The discussion will be held on Weds. Oct 24 from 11am to 1pm. Visitors bring their lunch and the museum provides coffee tea and dessert.
For registration or other information, click on the link above.
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