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The exhibition  "MANUS : ab.sum"  is rendered using the 19th Century photographic process known as Wet Plate Collodion. The work deals with hand-made attributes of creating photographic images of our environment ... the building up, the habitation, and the abandonment of it ... and of nature reclaiming its place.

Drawing from a history of past studies in the Latin language, Amy uses Latin portfolio descriptors. Her latest work, MANUS (Latin for “hand”) presents a re-emergence of hands-on photographic processes, such as wet plate collodion, yet she enjoys marrying modern techniques with antiquated ones.  The imagery also follows a modern aesthetic, employing digital photo-manipulations of pieces of architecture and natural flora.  Using digital positives, Amy returns to the 1800s process for final output.  For select arrangements, a focus on the unique structural aspects of a particular building or site is translated into the final structural-relief tintype assemblage.

 

 

Amy Rockett-Todd "Process"
Amy Rockett-Todd "Process"
Amy Rockett-Todd "Process"
Amy Rockett-Todd "Process"
Amy Rockett-Todd "Bomb"
Amy Rockett-Todd "Bomb"
Amy Rockett-Todd "Remember"
Amy Rockett-Todd "Remember"
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About the artist

A native of the foothills of North Carolina, Amy Rockett-Todd wears many creative hats;  as an educator, designer, studio artist and photographer in Tulsa, Oklahoma with her husband, children, and their two dogs.

She received her Bachelor of Science in Interior Architecture and Studio Arts Minor from the University of North Carolina at Greensboro.  Her Studio Arts instruction included mentor and photographer, Arnold Doren (a student of photographer, Minor White in the late 50’s).

Amy has work in many private collections and has exhibited in galleries across the USA, UK, Spain and Romania.

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Amy Rockett-Todd

MANUS : ab.sum

April 7 - May 21, 2017

Hardesty Arts Center/AHHA Tulsa OK

FRAMING SPECIFICATIONS

101mp01 - Version 2

STANDARD
GALLERY FRAMES

Profile:  101 and 106
Wood:   Maple
Finish:   01 clear lacquer
Spacer:  matching

21 matte black finish

STANDARD
METAL FRAMES

Profile:  117
Finish:   21 matte black

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Santiago Ramón y Cajal, considered the father of modern neuroscience, was also an exceptional artist. He drew the brain in a way that provided a clarity exceeding that achieved by photographs. Combining scientific and artistic skills to produce drawings with extraordinary scientific and aesthetic qualities, his theory that the brain is composed of individual cells rather than a tangled single web is the basis of neuroscience today.

Santiago Ramón y Cajal, Untitled (self portrait), c.1885.
Santiago Ramón y Cajal, Untitled (self portrait), c.1885.
Santiago Ramón y Cajal, glial cells of the mouse spinal cord, 1899, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

Santiago Ramón y Cajal, glial cells of the mouse spinal cord, 1899, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

Santiago Ramón y Cajal, glial cells of the cerebral cortex of a child, 1904, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

Santiago Ramón y Cajal, glial cells of the cerebral cortex of a child, 1904, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

Santiago Ramón y Cajal, endotelioma de la duramadre, 1890, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

Santiago Ramón y Cajal, endotelioma de la duramadre, 1890, ink and pencil on paper. Courtesy of Instituto Cajal (CSIC).

About the Exhibition

This traveling exhibition of Cajal’s original drawings was organized by the Weisman Art Museum in collaboration with Drs. Eric Newman, Alfonso Araque, and Janet Dubinsky, neuroscientists at the University of Minnesota and leaders in the field of neuroscience. Dr. Araque was formerly at the Instituto Cajal in Madrid, where Cajal worked and where his drawings are housed.

The Beautiful Brain: The Drawings of Santiago Ramón y Cajal

January 28 through May 21, 2017

Weisman Art Museum

University of Minnesota Minneapolis, MN

FRAMING SPECIFICATIONS

106MP01 - Version 2

STANDARD
GALLERY FRAME

PROFILE: 106
WOOD: MAPLE
FINISH: 01 CLEAR LACQUER
STRAINER: 3/4" DRILLED FROM BEHIND
ACRYLIC: 1/8" ULTRA VIOLET

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The paintings for this exhibit are based from direct observation and from my photographic reference of the Cityscapes of New York. I work in oils on linen canvas and linen panels in the simple and direct Alla Prima method. Although my work is representational I am more interested in the "Story" of the scene and the "Plasticity"of the paint than in creating an exact representation of the subject.

Stephen Magsig "Bus Stop Cafe", 42 x 36
Stephen Magsig "Bus Stop Cafe", 42 x 36
Stephen Magsig "Webster Hall" 42 x 36
Stephen Magsig "Webster Hall" 42 x 36
Stephen Magsig "Washington Square Hotel" 42 x 36
Stephen Magsig "Washington Square Hotel" 42 x 36
Stephen Magsig "Cornelia Street" 42 x 36
Stephen Magsig "Cornelia Street" 42 x 36

About the Artist

I have been painting for over 30 years. I have had more than 25 solo shows and numerous group shows. I currently show with the George Billis Gallery in New York, NY  the David Klein Gallery in Birmingham, MI and the Blue Rain Gallery, Santa Fe, NM.

My work is in over twenty-five corporate and museum collections and in hundreds of private collections.

Artist: Stephen Magsig
Artist: Stephen Magsig

Stephen Magsig
May 2 - May 27, 2017
Opening Thursday May 4th 6:00 - 8:00 pm
George Billis Gallery
New York, NY

FRAMING SPECIFICATIONS

Profile: 121 Wood: maple Finish: 13 black opaque

FLOATING FRAMES
FOR PAINTINGS

PROFILE: 121
WOOD:      Maple
FINISH:     13 Black Opaque

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