A selection of work by artist Mark Webber is now on view at the Lauren Rogers Museum of Art in Laurel, Mississippi. All works on view are available for sale through Anita Rogers Gallery.
The exhibition will include a look at successive generations including Mary Heilmann, Howardena Pindell, and Michelle Stuart, and more recent arrivals Jacqueline Humphries and Amy Sillman, among many others.
To get ideas for his art, he observes the world we live in, as well as allowing himself to be free from himself. “Then what can move through a channel, can emerge fresh and clear of my ego, and be, just be,” said Mark.
He has lately been pushing the boundaries of his pieces further, incorporating found objects— steel scraps, bricks, rubber—in order to bring a sense of tension and balance or create “an interesting compositional relationship.”
George Negroponte currently has a painting on view in the Museum of Contemporary Art, Andros as part of their current group exhibition Approaches to Abstraction by Greek Artists of the Diaspora: Works from the B&E Goulandris Foundation Collection.
Over the summer, James Scott will be streaming several of his films, beginning with The Great Ice Cream Robbery and ending with his most recent art documentary, Fragments (2019).
Fueled by Dickinson’s expansive intuition, veracity, and her elastic use of language, the exhibition will explore identity, abstraction, and the phenomenological nature of vision.
NEW YORK, NY.- Anita Rogers Gallery presents We Shall be a City Upon a Hill, an exhibition of work by American artist Mark Webber. The show is on view February 12 - March 14, 2020 at 15 Greene Street, Ground Floor in SoHo, New York.
Webber’s sculptures are just as gestural as they are structural; there is a push and pull between calculation and happenstance.
Anita Rogers Gallery presents 'We Shall be a City Upon a Hill,' an exhibiton of work by American artist Mark Webber. The show will be on view February 12 - March 21, 2020.
Fragments covers the trajectory of Derek Boshier working between a giant drawing, World News, which is about ‘the contrasts between nature and machinery’, and a series of paintings titled Night and Snow.
This month’s Master Class takes a deeper dive into the Anita Rogers Gallery in New York City – a gallery that strives to cultivate the careers of exceptional painters and sculptors, both figurative and abstract, who have earned their place in the contemporary market. In this interview, Susan Melrath and Anita talk about Anita’s perspective, the gallery’s vision and advice for aspiring artists.
There is something loose and special about the Sag Harbor art gallery community, which can treat its art shows as intuitive and impromptu affairs. Often an open forum, it is not unusual for artists and curators to join the spaces in a last-minute collaboration.
All of my editing, all of my scrubbing and re-layering, these are all very distinct physical elements. I want all the work to do the same thing. I want it unfold over time for the viewer and to tell its story slowly and deliberately. I want that story to always be interesting. Perhaps that is a quality people will come to recognize in my work.
Tribeca Art+Culture Night celebrates its third anniversary with the 12th edition tour of neighborhood arts spaces on Thursday, Nov. 14, from 6 to 9 p.m. RSVP required. General admission is free, or join the after party with a special $35 VIP ticket.
Anita Rogers aims to put the artist back in front of the city’s art lovers. William Scott: Paintings and Drawings focuses on works from the 1950s-80s, including some prime examples of his Abstracts and domestic still-lifes.
"Art has such a profound effect on us. I feel most of us are constantly either thinking of our past, worrying about things we did wrong, or feeling stress about the future. However, art forces us to be more present, to feel and experience the world in a different way."
If you want to express yourself really in any fundamental way, I think you have to have the courage to be able to move forward with whatever ideas you think are good or bad, and you have to be willing to flesh those ideas out, and be comfortable working on them. And then the end of that road is putting them out into a public that they don't know who you are. So you're introducing yourself to strangers through your work.
The British Council apparently couldn’t handle Scott’s vision of contemporary (i.e., homosexual) life, and asked him to remove the footage of Hockney wearing a sweatshirt emblazoned with the number 69 and the work’s final section, in which the artist reads three Cavafy poems over shots of his etchings. Anita Rogers could handle it, and offered the original, uncensored version.
Seven months ago Claude Lawrence completed a significant work titled “Eastside Ruminations”: it’s made gutsy by jolted figures, anthropomorphic prompts, and heavy black contouring that gives the work the look of a stained glass window. It glows. The organization of this painting is not unlike other works by Lawrence from this period as it highlights dispersed forms brought together by a deliberate and straightforward touch.
The American offers the workshop "Life and Meaning" for students of all faculties. Every year, the University invites internationally renowned and innovative artists to Tübingen with the "Invited Artist" concept to provide students with insight into the contemporary art of different cultures.
“The politics of the art world is social,” Algus said. “Often, the social politics and personal politics don’t mesh well because the social hierarchies of the art world overshadow then.” Handwriting the Constitution represents another attempt to “chip away at that.”
“At the core of the Pollock-Krasner Foundation’s mission is fostering the work and development of artists, and our 2018-19 grant and award recipients highlight the impact we can have due to Lee Krasner’s legacy,” said Ronald D. Spencer, Chairman and CEO of the Pollock-Krasner Foundation.
The gallery introduces John Ashworth to the gallery for the first time; Ashworth’s detailed acrylic paintings on paper, canvas and panel are rich in texture, detail and illuminated color. Moore’s works on photo emulsion paper explore depth, perspective, balance and asymmetry. Webber’s hydrocal and plaster sculptures recall architectural forms but are firmly sculpture; the works are defined by their elegant lines and careful balance.
Though my paintings are, for the most part, “abstract,” I think of them more as an arena of spatial possibilities where the confluence of ideas is transformed into a visual language of symbols. Mark-making, layers, pigment, and a willing suspension of disbelief concerning the impossibilities of space lends itself to a world of visual fictions.
"The coherence of the show comes from a shared command these artists display of both materials and process. One feels these works were chosen as much to create a discussion about the current state of abstraction as to provide a gateway into further exploration of each artist’s oeuvre."
Offered four times a year, TAC Night features art performance, dance, artist tours, gallery talks, open studios, workshops and more taking place across the Downtown New York neighborhood.
"Texture, composition, simplicity, and an organic element are all part of my exploration. What unfolds off the wall and/or into space must be aesthetically pleasing and embrace silence after all the work has been done. My materials all come from materials being used in modern homes." – Mark Webber
I struggle in the early stages because there are no real problems that I can solve, so I have to labor to create these problems. Day two is typically when a painting will begin to take on different and unique characteristics. After day two is where I excel and my process becomes very kaleidoscopic with one move opening up 10 moves and so on.
To better understand this concept of “the divine joke,” I turned to Becoming Modern: The Life of Mina Loy, in which Carolyn Burke, Loy’s biographer, explains that Loy’s notion was that art could be a “‘divine joke’ which the public did not get because it had been trained to see things in just one way” whereas “the artist saw each object with fresh eyes.”
In tandem with the exhibition The Divine Joke, curated by Barry Schwabsky, and in celebration of the recent publication by Ugly Duckling Presse of a new facsimile edition of The Blind Man, the renowned little magazine published by the circle around Marcel Duchamp in 1917, Anita Rogers Gallery and Ugly Duckling Presse present an evening of readings and discussion inspired by The Blind Man.
For the third volume of this ongoing series entitled New York Studio Conversations (Part II) art historian Stephanie Buhmann conducted interviews with twenty artists, whose ages range from early 41 to 96.
The compositions are direct, unmannered and actively self-sufficient. They point to a time when such unfettered abstraction was the dominant idiom in the New York area; we pretend that is so still, although it is clear by now that the style is currently a matter of individual performance, practiced by talented persons such as Hinnemo.
Anita Rogers Gallery announces its 2018 Winter Group Exhibition, a collection of work by three artists new to the gallery: Jan Cunningham, Gloria Ortiz-Hernández and Robert Szot. The exhibition is on view January 3 – February 3, 2018 at the gallery’s new location at 15 Greene Street, Ground Floor in SoHo, New York
In 1962 Jack Martin Rogers, who was born in Warwickshire, England found himself pulled into the magical island of Crete, and this winter some of his paintings – mainly with Greek themes – were lovingly exhibited by his daughter at her Anita Rogers Gallery in Manhattan.
The selection of works on display features new paintings from the artist’s 'Torso/Roots' series. The new paintings by Waltemath were created with a range of unique materials including oil, graphite and various metallic and fluorescent pigments on aluminum panels, many of which took years for the artist to complete.
In “Fecund Algorithms,” a solo exhibition of new paintings and diminutive sewn-canvas works, Joan Waltemath diverts gently from the quiet perfection of her previous work to embrace small accidents and contingencies.
Upon entering the open space of the Anita Rogers Gallery you are greeted with rectangular aluminum canvas' that immediately draw your eye and are painted like multi-paneled grids. The subtly decadent, organized planes of color and texture serve as visual offsets and underline the surrounding architecture of the Anita Rogers Gallery.
Once a refuge for artists who rented cheap industrial lofts, SoHo is now one of the most stylish and exclusive neighborhoods in New York. While many of the artists have long since relocated, much of the art remains.
Despite the show’s title, an alluring softness pervades George Negroponte’s new work in his exhibition, “Gravel Road,” at Anita Rogers Gallery in Soho through January 7.
George Negroponte comes to making art with a pure love of painting. His aim has never been to turn over the apple cart, or in Al Held’s words, reinvent the wheel. As such, he has been compelled to paint his way through various modes and approaches, learning and searching for authenticity and resonance.
George is obviously a venerable artist. My early impressions of his latest (re)+work are very positive. Keeping all of this in mind, I’m certain my reflections are influenced by the number of pieces shown, the symmetry of how the pieces are hung, and the architectural qualities and layout of the gallery, and of course the pieces themselves having a constructed efficacious quality; all giving a sense of a utilitarian longing.
Many notable artists — among them Dan Flavin, Sol LeWitt, and Brice Marden — worked at museums early in their careers, usually as security guards, but few kept one foot in the studio and one in a museum for three decades. George Negroponte managed to do just that.
On the eve of a solo exhibition of recent paintings at Anita Rogers Gallery in New York, Pat Rogers of Hamptons Art Hub reconnected with Negroponte to continue a discussion on his art and his process that began a year ago.
At times, abstract painting can seem like a received package, with little space left to think outside of the box. In Virva Hinnemo, to overplay the postal metaphor, we have an artist “pushing the envelope”—in her case, literally so. A form vocabulary and a gestural lexicon familiar from mid-century American masters Franz Kline, Robert Motherwell and Philip Guston meet the swift completion of their appointed rounds on flattened cartons as their repurposed, eccentric support.
Ms. Hinnemo adopted cardboard as her primary material last summer. “I was ready to scale up, and I have a lot of cardboard boxes from when we moved here. It’s a surface I love to work on. Because of the imperfections, whether it’s print or folds or weird edges and creases, it almost has a kind of grit. And it provides organizing principles, such the grid it makes when it’s unfolded or the holes meant for carrying it.”