Verostko install Title Wall

A Retrospective Exhibition Minneapolis College of Art & Design

Verostko install overall_main floor
Verostko_Cultural Exchange_2
Verostko exhibition shot
Verostko_Art and Logic_Honoring Alice his partner

This retrospective exhibition includes over seventy original works by Verostko, encompassing his pre-algorist work, algorithmic pen and brush plotter drawings, early screen/video pieces, electronic machines, mural projects, artist books, and newer editioned prints. One of the artist’s pen plotters will be featured, as will selections from his archives of detailed notes, equations, and codes. Rather than a strict chronological retrospective, the exhibition is organized around major themes that appear throughout Verostko’s work, such as his search for pure form, his interest in logic, his merging of eastern and western aesthetics and philosophy, and his understanding of his home “Pathway Studio" as a modern day electronic scriptorium.

St. Thomas Model-w

Model of Epigenesis: the Growth of Form, a permanent installation, 40 feet in length located at the University of St. Thomas, Frei Science and Engineering Center, Owens Hall, St Paul, MN. Pen, brush & ink, 11 units 3 by 6 ft each with stained white oak panels, 1997.

About the artist

Roman Verostko, born 1929, maintains an experimental studio in Minneapolis where he has developed original algorithmic procedures for creating his art. A year after graduating from the Art Institute of Pittsburgh (1949) he entered monastic life at St Vincent Archabbey where he studied philosophy & theology, was ordained a priest, and followed post graduate studies in New York &

Paris. He taught at St. Vincent College and served as Staff Editor for Art & Architecture for the first edition of the New Catholic Encyclopedia (McGraw Hill, 1967).

He departed from monastic life in 1968, married Alice Wagstaff, and joined the humanities faculty at the Minneapolis School of Art now known as the Minneapolis College of Art & Design. Aware of the awesome power of algorithmic procedure he began experimenting with code and exhibited his first coded art program, the Magic Hand of Chance in 1982. In 1987 he modified his software with interactive routines to drive paint brushes mounted on a pen plotter drawing arm.

Notable Items: SIGGRAPH ACADEMY (Aug, 2018); "Distinguished Artist Award for Lifetime Achievement (SIGGRAPH, 2009), Golden Plotter Award, 1994 (Germany). Invitationals: "Digital Pioneers", V&A, London, 2009; "The Algorithmic Revolution" (ZKM, Karlsruhe, 2005), “Code: the language of our time” (2003, Linz, Austria), Artec 1995, Nagoya, Japan) and "Genetic Art-Artificial Life" (1993, Linz, Austria).

Roman Verostko and the Cloud of Unknowing
A Retrospective Exhibition

January 22, 2019 - February 24, 2019
Minneapolis College of Art and Design (MCAD)
Minneapolis, MN

Framing Specifications

green cloud

Verostko, Algorithmic Poetry: Green Cloud, 2011, algorithmic pen and ink plotter drawing, 23 x 27 in.

Capture0018-431 101MP04_50 SPACER_STRAINER

METRO GALLERY FRAME

Profile: 101
Type: Standard Gallery Frame
Wood & Finish: maple frames with pickled white finish
Purchasing Option: joined wood frame
Custom Wood Spacer: 1/2" wood frame spacer
Custom Wood Strainer: 3/4" wood frame strainer

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For centuries, Greek and Roman myths have inspired artists. New York University’s Grey Art Gallery is pleased to present a solo museum exhibition of the New York–based octogenarian artist Wally Reinhardt, who continues in this time-honored tradition. The exhibit features some 50 watercolor, gouache, and colored pencil illustrations from a series that numbers nearly 200. Reinhardt, who began working on this project in 1984, has focused solely on interpreting Ovid’s most acclaimed work of Latin poetry, Metamorphoses. Spanning 15 books, this oft-cited magnum opus from 8 CE has provided rich source material for Reinhardt’s witty and whimsical series, titled Pages from Ovid’s Metamorphoses. Installed roughly in the same order that Ovid recounted his myths, Reinhardt’s graphic interpretations provoke a reconsideration of art making itself as a form of metamorphosis.

Ovid Crowned with Immortality

Wally Reinhardt "Theseus Slays the Minotaur", 2003 Watercolor, gouache, Prismacolor colored pencil, graphite, and tape on prepared Arches paper, 18 x 22 in. New York University Art Collection. Gift of the artist, 2018.2.30

Wally Reinhardt "Joves makes Hercules a God"

Wally Reinhardt "Joves Makes Hercules a God", 2013, Watercolor, gouache, Prismacolor colored pencil, graphite, and tape on prepared Arches paper, 18 x 33 in. New York University Art Collection. Gift of the artist, 2018.2.62

Wally Reinhardt
Mercury Never Tells Argus the Story of Syrinx and Pan, 1993
Prismacolor colored pencil and gouache on prepared Arches paper, 11 x 15 in.
New York University Art Collection. Gift of the artist, 2018.2.18

Wally Reinhardt "Mercury Never Tells Argus the Story of Syrinx and Pan", 1993, Prismacolor colored pencil and gouache on prepared Arches paper, 11 x 15 in. New York University Art Collection. Gift of the artist, 2018.2.18

About the artist

Born in Washington Heights in 1935, Wally Reinhardt only began making art seriously at age 49. His fascination with Ovid’s monumental fifteen books of poetry, however, was ignited during the previous decade. While living in Rome in the 1970s with his late partner Robert Keyser, a Philadelphia-based painter who also taught at Temple University Rome, Reinhardt consistently encountered the city’s artistic interpretations of Ovid’s work. A patron of opera and ballet as well as an admirer of Renaissance and Baroque artists like Antonio del Pollaiuolo, Luca della Robbia, and Gian Lorenzo Bernini, Reinhardt began studying Ovidian-inspired artworks. Having never had formal art training, the artist acknowledges that the museums and the city of Rome itself were marvelous teachers.

Metamorphoses: Ovid According to Wally Reinhardt

January 9, 2019 - April 6, 2019

Grey Art Gallery at New York University

New York, NY

Metamorphoses: Ovid According to Wally Reinhardt Grey Art Gallery at NYU
Metamorphoses: Ovid According to Wally Reinhardt Grey Art Gallery at NYU
Metamorphoses: Ovid According to Wally Reinhardt Grey Art Gallery at NYU
Metamorphoses: Ovid According to Wally Reinhardt Grey Art Gallery at NYU
reinhardt framed image

Framing Specifications

Capture0018-431 101MP04_50 SPACER_STRAINER

METRO GALLERY FRAME

Profile: 102
Type: Thin Gallery Frame
Wood & Finish: maple frames with pickled white & painted white finish
Purchasing Option: joined wood frame
Custom Wood Spacer: 7/16" wood frame spacer
Custom Wood Strainer: 1/2" wood frame strainer
Custom Frame Acrylic:  UV acrylic cut to size

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Michael Patrick O’Brien “Familiar Address” at University of New Orleans

In his photographs of family members and familial spaces, O’Brien translates the family’s lineage and spaces as sites of both repetition and evolution. Genetics are inherited, body postures are echoed, the formality of interiors is mimicked, values are passed down, death is present, children appear, religious customs are passed down, and family traditions persist and transform. With a photographer’s formal rigor, O’Brien’s starting point is an attention to color and light, yet scale shifts, the articulation of architectural spaces, and an alternation between flatness and depth all provide narrative potential within the photographs and between them. Some pictures depict an immediate, often intimate moment, while others do not seem to be rooted in a moment but instead suggest open-ended stillness and quiet.

At the heart of the project is the pull between being an individual while also being a member of a family, and the competing feelings of loneliness and belonging that ensue. The photographs lie between distance and intimacy. Within a family, one can observe with an outsider’s eye while possessing an insider’s knowledge.

 

Michael Patrick O'Brien "Papa" 2016
inkjet print, 32" x 40 "
Michael Patrick O'Brien "Papa" 2016 inkjet print, 32" x 40 "
Michael Patrick O'Brien "Papa’s Room After He Died" 2016/2017 inkjet print
32" x 40"
Michael Patrick O'Brien "Papa’s Room After He Died" 2016/2017 inkjet print 32" x 40"
Michael Patrick O'Brien "Charlie" 2016
inkjet print,
32" x 40"
Michael Patrick O'Brien "Charlie" 2016 inkjet print, 32" x 40"

About the artist

A photographer of things, people, and spaces who owes as much to the practitioners large format photography as to representational painters such as Catherine Murphy, John Singer Sargent, and Fairfield Porter, Michael Patrick O’Brien images people and places known to him, primarily family, in an ongoing and open ended body of color photographs. This image-by-image engagement with familiar people and places forms a consistent practice within his broader work as an artist.

Michael Patrick O’Brien (b. 1988, Houston, TX) earned his BA from Washington and Lee University, Lexington, VA (2010). Recent exhibitions include Memoir, Bank of America Center, Houston (2018); Thanks in Advance, Bill’s Junk, Houston (2018); and The Big Show, Lawndale Art Center, Houston (2017). O’Brien lives and works in Houston, TX.

install 01
install 16

Michael Patrick O'Brien "Familiar Address" 

December 8, 2018 – January 5, 2019

St. Claude Gallery University of New Orleans

New Orleans, LA

Framing Specifications

install 24
Painted white gallery frame with spacer and strainer
Painted white gallery frame with spacer and strainer

METRO GALLERY FRAME

Profile: 101
Type: Standard Gallery Frame
Wood & Finish: maple frame with painted white finish
Purchasing Option: joined wood frame
Custom Wood Spacer: 1/2" wood frame spacer
Custom Wood Strainer: 3/4" wood frame strainer
Custom Frame Acrylic: 1/8" UV acrylic cut to size
Custom Frame Backing Board:  1/4" archival coroplast cut to size

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