David Ridgway "Islandia" 30x40 Oil on Canvas
David Ridgway "Islandia" 30x40 Oil on Canvas
David Ridgway "Big Yellow Barn" 30x 36 Oil on Canvas
David Ridgway "Big Yellow Barn" 30x 36 Oil on Canvas
David Ridgway "2 Boats Friday Harbor" 16 x 16 Oil on linen
David Ridgway "2 Boats Friday Harbor" 16 x 16 Oil on linen

ABOUT THE ARTIST

David Ridgway's oil painted landscapes reflect a joy, love and understanding for his environment. Whether painting plein aire or in his studio, his images of the hills, valleys, boats, and houses of the San Juan's and Skagit counties are an appreciative expression of the beauty of the Pacific Northwest.

David pares the landscape down to interlocking colored shapes and paints these shapes in bold colors. He expresses his love of form, in particular of the gable as seen in the barns, farmhouses and summer cottages of the Skagit Flats or the San Juan Islands.

Many of the paintings continue to investigate the relationship between man and the rural and sub rural landscape. Architectural and atmospheric elements are prominent.

ABOUT THE EXHIBITION

 Simplified Forms  David Ridgway - Paintings   Pete Kuentzel - Ceramic Sculpture
This gallery show brings together painter David Ridgway and ceramicist Pete Kuentzel. While both artists use seemingly simple forms--a rectangle, a triangle or a circle-- they create lush, complex compositions on canvas or clay.

David has a unique approach with landscapes: he initially removes any signs of present day, like power lines or cell towers. Then, he simplifies the form and intensifies the color. His skies become heavy white rocks, gliding by a farm barnyard scene without the creatures that inhabit those spaces. Portrayed in rich velvety purples and reds, we now see a bunch of simplified forms that evoke a barnyard.

Pete's approach to his ships and tankers again use the simplified form of a rectangle, a triangle or a circle to create the form of a ship. A rectangle for the ships stack and a circle for a porthole and perhaps a rectangle for the cargo hold. Pete's color vocabulary is filled with sun drenched yellows, reds and blues.
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Simplified Forms
David Ridgway
Pete Kuentzel
June 15 - July 13, 2018
Waterworks Gallery
Friday Harbor, WA

David Ridgway "Five Clouds Friday Harbor" 24 x 48 Oil on Canvas
David Ridgway "Five Clouds Friday Harbor" 24 x 48 Oil on Canvas

FLOATING FRAME

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Type: floating frame for 1-1/2" canvas paintings
Wood and Finish: maple frame white painted finish
Purchase Option: joined frames

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R. J. Kern's exhibition at KLOMPCHING GALLERY is the artist’s first solo show in New York, bringing together a selection of color photographs from his three critically-acclaimed projects: The Unchosen Ones, Out To Pasture and Divine Animals: The Bovidae.

"Mr. Hofsós, Skagafjardarsysla, Iceland,” 23.5 x 30 inches, archival pigment print, Ed 7 + 1AP, 2014 © R. J. Kern

"Mr. Hofsós, Skagafjardarsysla, Iceland,” 23.5 x 30 inches, archival pigment print,
Ed 7 + 1AP, 2014 © R. J. Kern

"Dumb and Dumber, Freeborn County, Minnesota, USA" 23.5 x 30 inches, archival pigment print, Ed 7 + 1AP, 2016 © R. J. Kern

"Dumb and Dumber, Freeborn County, Minnesota, USA" 23.5 x 30 inches, archival pigment print,
Ed 7 + 1AP, 2016 © R. J. Kern

"Hazel, Geiranger Fjord, Norway” 23.5 x 30 inches, archival pigment print, Ed 7 + 1AP, 2016 © R. J. Kern

"Hazel, Geiranger Fjord, Norway” 23.5 x 30 inches, archival pigment print,
Ed 7 + 1AP, 2016 © R. J. Kern

About the artist

Kern’s photography is firmly rooted in presenting the human affect on the landscape and an inquisitive exploration of humanity through man’s relationship with domestic animals.

“Kern’s evocation of nature as a device to understand his own sense of self draws upon historical precedence: the use of animals as metaphor and the pastoral tradition. yet the artist’s broad concept—his exploration of identity—is firmly grounded in a contemporary context. This tightly knit series of images, which together characterize the author, is common to our age of social media. Kern’s aesthetic, however, emphasizes clarity and projects a warm stillness that is a balm to an overstimulate society. This contrast, too—the ties to digital media and the rejection of its characteristics—deepens his pastoral project.”.—Lisa Volpe, Associate Curator, Photography, The Museum of Fine Arts, Houston.

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R. J. Kern

May 9 — June 30, 2018

Klompching Gallery

New York, NY

Framing Specifications

Annabelle and Friend, Anoka County, Minnesota, USA, 2017, from the series Out to Pasture 24.5 x 32 inches

"Annabelle and Friend, Anoka County, Minnesota, USA," 2017,
from the series Out to Pasture 24.5 x 32 inches © R. J. Kern

101MP15, 3/4" spacer, 1/2" strainer
101MP15, 3/4" spacer, 1/2" strainer

 

GALLERY FRAMES

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Type: Standard Gallery Frame
Wood & Finish: maple frame with white painted finish
Purchasing Option: painted joined frame
custom wood spacer: 3/4" wood frame spacer
Strainer: 1/2" wood strainer

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John Bradford - 3

"Hamilton, History, Lincoln and Paint", is John Bradford’s first solo exhibition at the Anna Zorina Gallery. The show features the artist’s latest paintings that offer his contemporary take on historical subjects.

ABOUT THE EXHIBITION

John Bradford:

"I am employing violent scraping, palette knifing, dabbing, dripping, reducing, tearing apart, cutting through, and building up so the paint overwhelms with something very specific, yet distantly remembered from somewhere else. This process of abstracting and excavating these oft–told American histories simultaneously asserts my formal, absolute control of the surface while allowing me to retreat from the field".

John Bradford  "Constitutional Convention" 60x78 acrylic and oil on canvas, 2018

John Bradford "Constitutional Convention" 60x78 acrylic and oil on canvas, 2018

This unbridled exploration can be seen in Publication of the Declaration and Abraham Speaking to the People at Gettysburg with their highly original use of Jean Paul Riopelle-like textured fields of paint deftly applied in a specific narrative context as means of capturing the deeply complex, often conflicting interactions in the psychology of a crowd. The sheer plasticity and expressionist aggression of Bradford’s negative spaces create “significant narrative gestures” throughout the pictorial surface to celebrate something entirely new:  field painting of history.

John-Bradford "Lincoln Addressing the People at Gettysburg" 48x60 acrylic and oil on canvas, 2017

John-Bradford "Lincoln Addressing the People at Gettysburg" 48x60 acrylic and oil on canvas, 2017

The repertoire of techniques employed in these various historical paintings encompasses virtually the entire modernist lexicon and testifies to a painting life of unrelenting experimentation and invention. The magic is that a wide range of subjects, treated in surprisingly different ways, is so clearly the vision of a singular sensibility still committed to finding relevancy in our so tenuously shared national narrative.

John Bradford "Lincoln Writing the Emancipation Proclamation" 48x60 acrylic and oil on canvas, 2017

John Bradford "Lincoln Writing the Emancipation Proclamation" 48x60 acrylic and oil on canvas, 2017

ABOUT THE ARTIST

JOHN BRADFORD (b. 1949, Wilmington, Delaware) received his BFA from Cooper Union in 1971 and MFA from Yale University School of Art in 1979. He is the 2011 recipient of prestigious American Academy of Arts and Letters Award for Painting. John Bradford’s work has been reviewed in the New York Times, ArtNews, Village Voice, the Jewish Press and Hudson Review.

John Bradford
"Hamilton, History, Lincoln and Paint"
March 29 - May 5, 2018
Anna Zorina Gallery
New York City, NY

John Bradford "Publication of the Declaration" 48x60 acrylic and oil on canvas, 2017

Unfinished maple floating frames

FLOATING FRAMES

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Type: Floating frame
Wood & Finish: Unfinished maple
Purchase Option: Unjoined wood frame cut to size with wedges
Framing Advice: joining frames
Framing Advice: fitting floater frames

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