JOHN BRADFORD By Land and By Sea at Anna Zorina Gallery in New York


As the show was being hung, the virus came. Assumptions collapse into a fog, inside an unfolding unknown. Who would have imagined the immediacy of a quote like Churchill’s “Victory at all costs, victory in spite of all terror, victory however long and hard the hard may be; for without victory there is no survival ”?
Now it’s all about the space within the house, between homes, towns, states, and countries.

 

When I was painting these works from 2018 to 2020, New York, the whole country was bustling with energy and life. My works were about mayhem, argumentation, celebration, all together, having a common denominator of an American air, space and light.

 

First, as a painter, my job is to paint the most spectacular, engaging, relevant, even overwhelming works as possible. And using iconic stories from America’s          Ur-narrative could help to re-arrange the interaction between artist and viewer away from being exclusively subjective. I wanted the subject matter to serve as the boundary lines of a game played out on an open field. With the way I had developed my style and act of painting, especially the sharp edges between reduction, abundance, action and abstraction that I had achieved over my career, I could invite the widest possible participation by many diverse viewers to feel free to participate in the game, completing my paintings for themselves.

Thinking about my work in this stark moment, it’s clear that art is almost exclusively about the power of expression and, above all, beauty. I hope all my work powerfully expresses my sentiments in beautiful forms that can give pleasure to people.

 

John Bradford 2020

 

Mayflower November 11, 1620, 2019
acrylic, oil on canvas
48 x 60 in
Mayflower November 11, 1620, 2019
acrylic, oil on canvas
48 x 60 in
Washington Returns to Mount Vernon, 2019
acrylic, oil on canvas
48 x 60 in
Washington Returns to Mount Vernon, 2019
acrylic, oil on canvas
48 x 60 in
Plymouth Rock, 2019
acrylic, oil on canvas
48 x 72 in
Plymouth Rock, 2019
acrylic, oil on canvas
48 x 72 in
INSTALLATION VIEW 20
INSTALLATION VIEW 2

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

By Land and By Sea

by appointment only

(Originally Scheduled for February 27 – April 25, 2020)

Anna Zorina Gallery New York, NY

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Lisa McShane paintings at Smith & Vallee Gallery

Light is the main element in my paintings. I use layers of oil paint and resin, usually over linen, to create deeply luminous paintings of light and the way it falls on land and water. I want my work to breathe and to convey the beauty of our world, though I don’t paint an untouched landscape. I paint a world that includes the impact we have on our lands.

In the west our world is increasingly altered by wildfire smoke and I work to capture that: the strange filter that a blanket of smoke casts on the land that changes the way we see color, bonfires near dry trees, strangely vivid suns and moons, and smoke pouring off a distant forest. Fire moves fast. It’s changing the west in late summer and I’m painting those impacts.

My work is increasingly abstracted. I find I have less to say about specific places, and more to convey about the embrace of light on landscapes, whether I’m looking down at a reflection on a river or at a wide horizon line. I rarely paint onsite; I want distance from the experience so that I can engage my memory and my mind. My images often start with a photo, then are abstracted through rough sketches, then drawings, and finally, the painting.

Lisa McShane, Okanagan: Fire on the Horizon, 2020, Oil on Linen Panel, 26” x 42”

Okanagan: Fire on the Horizon, 2020, Oil on Linen Panel, 26” x 42”

Lisa McShane, Lhaq’te’mish: Morning Fog on the Nooksack Delta, 2020, Oil on Linen over Wood Panel, 30” x 20”
“Lhaq’te’mish: Morning Fog” on the Nooksack Delta, 2020,
Oil on Linen over Wood Panel, 30” x 20”
Lisa McShane, Yakama: Autumn on the River, Oil on Linen over Aluminum, 20” x 24”

“Yakama: Autumn on the River”, Oil on Linen over Aluminum, 20” x 24”

Framed photo 4
LISA MCSHANE
March 6, 2020 – March 29, 2020
Smith and Vallee Art Gallery
Edison, WA

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Tania Dibbs debuts at Art Palm Springs 2020 with Ether Arts Project

ETHER Arts Project, an international nomadic cultural organization that links artists, curators and exhibition spaces, has invited Tania Dibbs to participate with a solo project booth at this premier art fair. With a strong focus on environmental art, which responds to ETHER’s mission, the display includes works from Tania’s Arctic series and her most recent endeavor, The Ripple Effect series, which emphasizes the dynamic between personal choices and collective impact. “It is important to understand that every action that we take and every decision that we make has a consequence. The only way to look into the future is by thinking in the present, even if only by raising the level of consciousness and discourse which is valuable in itself.” the artist commented.

Scramble, 36" x 48" acrylic
Scramble, 36″ x 48″ acrylic
Melt 60" x 84" mixed media on canvas
Melt 60″ x 84″ mixed media on canvas

About the artist

Tania Dibbs is an accomplished mid-career artist originally from Washington D.C., who has been living in Aspen, Colorado, since the 1980’s. With a degree in Biology and Fine Arts, her work explores the jagged intersection between the natural world, humanity and culture through painting and sculpture. She was a pioneer artist in exploring the Anthropocene Era, focusing on the effects of man on the environment with her successful Anthropocene series which she released in 2015. The screens and overlays that she painted over her scenes both highlighted and obscured the masterfully created landscapes beneath, speaking to the beauty of nature as well as to the conflicting yet fantastic constructs of man.

Her work is present in several international collections and she has been recognized with numerous awards, amongst which stand out a residency she did in 2016 in the Arctic Circle.

tanya dibbs exhibit

Tania Dibbs
Art Palm Springs 2020
February 13, 2020 – February 17, 2020
Palm Springs, CA

FRAMING SPECIFICATIONS


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Connie Connally: Wild By Nature at George Billis Gallery in Los Angeles

Connally works most clearly with what we recognize as gestural abstraction, associated with Abstract Expressionism. Connally has focused, however, on a notable subset of such gestural painting, one recognized in the heyday of Action Painting and even cited then to link Abstract Expressionism with vital precedents (e.g. the late Impressionism of Monet, the early abstractions of Kandinsky). Like such precedents, Connally distinguishes herself as, in essence, a landscape painter, albeit one who paints the landscape she feels as much as she paints the one she sees. Indeed, Connally’s stress on sensuous form and color experience through reference to natural phenomena (in particular vegetation and water, normally in motion) places itself squarely in a tradition particular to the American experience. John Marin’s expansive rhapsodies on the local landscape exemplify this tradition, as does Joan Mitchell’s gradual – but ultimately thorough – adoption of landscape qualities and references. This sort of “plein air abstraction” defines Connally’s work, but her particular touch and palette, and her close and vibrant sense of atmosphere, distinguishes it.

Peter Frank, LA Art Critic

Connie Connally, Tigers on the River Bank, 2019, oil on canvas, 8 x 10 inches
Connie Connally, Tigers on the River Bank, 2019, oil on canvas, 8 x 10 inches
Connie Connally Windflower II 2019 30x30 oil on canvas
Connie Connally Windflower II 2019 30×30 oil on canvas
Connie Connally, Rose Garden, oil on canvas,30 x 30 inches
Connie Connally, Rose Garden, oil on canvas,30 x 30 inches

About the artist

 

Connie Connally paints stunning canvases of complex elegance, with imagery that merges harmoniously and nearly completely both representational reference and powerful abstraction. Connally’s poetic colorscapes, with their expressive brushwork, sweeping gestural marks and animated cadence, reflect the artist’s passion for distilling the essence of her observations of nature and situate her work as the vital interplay between memory and imagination. Her palette of organic color and calligraphic brushstroke combine to serve as imprint of the artist’s profound love of being in nature and the desire that her painting reflect both her exterior and interior experience of it.

Citing Joan Mitchell as an important influence on her work, Connally employs exuberant, impassioned colors laid on her canvases in a pictorial strategy that teeters between the action painting of her abstract expressionist forebears and a more refined personal style that modulates the strokes and dabs that comprise her surfaces. Her layers of brushstroke read less as agitated ruptures and more like intuitive, sensual experiences rendered as prismatic atmospheres of color and tone. Rich, multi-layered surfaces of color morph, coalesce and scatter in quietly energetic rhythms that evoke the experience of being surrounded by nature.

IMG_0397

 

 

Connie Connally

Wild By Nature

January 11, 2020 – February 15, 2020

George Billis Gallery

Los Angeles, CA

Framing Specifications

Capture0006-335 121MP00F _700

 

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Ying Li “Peregrination” at Gross McCleaf Gallery

Beautiful and seductive, these landscapes contain, but only partially conceal, a visceral howl. My understanding of them fluctuates between seeing them as landscapes, then as abstractions, and finally again as landscapes….What I love most is the time it takes to truly absorb and appreciate their structure and beauty. For me, that is a slow and delightfully rewarding experience. – Bill Scott

 

 

Ying Li, Cherry Blossom, Oil on linen, 36 x 36 inches
Ying Li, Cherry Blossom, Oil on linen, 36 x 36 inches
Ying Li, Grassy Waters #1, Oil on linen, 24 x 30 inches
Ying Li, Grassy Waters #1, Oil on linen, 24 x 30 inches
Ying Li, Wintry Garden, Oil on linen, 24 x 48 inches
Ying Li, Wintry Garden, Oil on linen, 24 x 48 inches

ABOUT THE ARTIST

Born in Beijing, China, Ying Li studied painting at Anhui Teachers University where she was later an instructor. She immigrated to the United States in 1983 and received an MFA from Parsons School of Design. Li’s work has been featured in numerous solo and group exhibitions, including internationally at Centro Incontri Umani Ascona (Switzerland), ISA Gallery (Italy), Enterprise Gallery (Ireland), and Museum of Rochefort-en-Terre (France); in New York City at Lohin Geduld Gallery, Elizabeth Harris Gallery, Tibor de Nagy Gallery, Lori Bookstein Fine Art, The National Academy Museum, and the American Academy of Arts and Letters; also, the Pennsylvania Academy of the Fine Arts, Cantor Fitzgerald Gallery (Haverford College), the James Michener Museum in Doylestown, and the Hood Museum at Dartmouth College.

 

LiOpeningrev

Ying Li
“Peregrination”
November 1-30, 2019
Opening Reception: Friday November 8, 5-7pm
Gross McCleaf Gallery, Philadelphia PA

FRAMING SPECIFICATIONS

Ying Li The Secret Garden, Insects and Butterflies, oil on linen, 16 x 16 inches
Ying Li The Secret Garden, Insects and Butterflies, oil on linen, 16 x 16 inches
Capture0006-335 121MP005_700F

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Helen Cantrell at The White Gallery in Lakeville Connecticutt

“I need lots of color in an image that strikes me. I use a lot of drips and flung slashes of paint. The result is expressive pieces in which swaths of yellow, orange, and violet evoke paths and fields and features a mix of abstraction and figuration, with vibrant bright hues, visible brushwork, and a sense of calm.”

Cantrell has been painting and making prints full time for the past 20 years, most recently large‐scale woodcuts and landscape paintings in an expressionist gestural  style.

 

"Rising Mist," 48"x48", oil on canvas
“Rising Mist,” 48″x48″, oil on canvas
"October Gold," oil on canvas, 36"x48"
“October Gold,” oil on canvas, 36″x48″
"Venice Violet" oil on canvas 36"x36"
“Venice Violet” oil on canvas 36″x36″

Helen Cantrell "March Snow Sunset," 48"x36" oil on canvas
Helen Cantrell “March Snow Sunset,” 48″x36″ oil on canvas
Helen Cantrell: A Sense of Place
May 24  – July 28, opening reception May 24 5-7 pm
The White Gallery, Lakeville, CT

FRAMING SPECIFICATIONS

"Harlem River Bridge, 36"x36" oil on canvas.
“Harlem River Bridge, 36″x36” oil on canvas.
121AH05A

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Richard Kirk Mills: Recent Paintings – Windows and Landscapes

“I paint directly from subjects in my familiar surroundings. The poetry of place arises from my own personal mythology: a longing for lost homes; a remembrance of water; of daydreaming looking out of windows: of silence. I occasionally make a pilgrimage, but for the most part, it’s just there, in front of me. From my observations and emotions I try to make good paintings.”

Known for his printmaking and for his distinguished work in public and eco-art, this exhibit at Blue Mountain Gallery is his first show in NYC since his return to painting.

"From a Granite Shelf, Stonington", 36" x 48" oil on canvas 2019
“From a Granite Shelf, Stonington”, 36″ x 48″ oil on canvas 2019
"Night Lights in a Granite Quarry", oil on linen, 30" x 38", 2019
“Night Lights in a Granite Quarry”, oil on linen, 30″ x 38″, 2019
"Winter Lights", oil on linen, 36" x 34", 2019
“Winter Lights”, oil on linen, 36″ x 34″, 2019

ABOUT THE ARTIST

After teaching for thirty-four years, first at Pratt Graphics Center then as professor of art at LIU/Post, Mills has returned to painting full time. He maintains studios in New Jersey and the Catskills.

Mills has been artist in residence at the Teaneck Creek Conservancy and a visiting Fellow at the Jentel Foundation, Ucross Foundation and the Virginia Center for Creative Arts. Mills has received grants from numerous arts foundations and state and federal agencies including the NJ State Council on the Arts, Puffin Foundation, Geraldine R. Dodge Foundation, USEPA, NJDEP and NJ TRANSIT.

Richard Kirk Mills: Recent Paintings – Windows and Landscapes
May 21, 2019 – June 15, 2019
Blue Mountain Gallery, New York, NY

FRAMING SPECIFICATIONS

"Earnest on the Lookout", oil on canvas, 24" x 24", 2019
“Earnest on the Lookout”, oil on canvas, 24″ x 24″, 2019
Capture0003-610_121CH00_700-2

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Jeffrey Vaughn at George Billis Gallery in New York

Vaughn has focused his energies as an artist working in landscapes for over thirty years. Vaughn approaches his work with a quiet contemplativeness that reflects the serene aspects of the natural world and reveals the underlying spiritual nature that can be found in the environments he portrays.

Crabapple Blossoms, 2019, oil on canvas, 30"x30”
Crabapple Blossoms, 2019, oil on canvas, 30″x30”
Last Light, 2018, oil and acrylic on canvas, 40"x40"
Last Light, 2018, oil and acrylic on canvas, 40″x40″
Sunlit Water Lily
2019, Oil and acrylic on canvas 40"x40"
Sunlit Water Lily
2019, Oil and acrylic on canvas 40″x40″

ABOUT THE ARTIST

Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington University, St. Louis, Missouri, and his Master of Arts degree in 1981, and Master of Fine Arts degree in 1983 from the University of Dallas.

His paintings have been published in New American Paintings, Fine Art Connoisseur, American Art Collector and reviewed in the American Arts Quarterly and the St. Louis Post Dispatch.

His work can be found in numerous public and private collections such as the U.S. Department of State, Washington, DC; Anheuser-Busch Inc., St. Louis, MO; Bernheim Arboretum and Research Forest, Louisville, KY; and Kentucky Public Radio, Louisville, KY.

Jeffrey Vaughn, reception 2A George Billis Gallery, 5_2_19
  Jeffrey Vaughn
April 30, 2019 – May 25, 2019
George Billis Gallery
New York, NY

FRAMING SPECIFICATIONS

New Blossoms, 2018, oil and acrylic on canvas, 40"x60"
New Blossoms, 2018, oil and acrylic on canvas, 40″x60″

METRO FLOATING FRAME

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Michael Dixon “I, Too, Sing America” at David Richard Gallery in New York

I, Too, Sing America, is an exhibition of recent and new paintings by artist Michael Dixon at David Richard Gallery. This series is comprised of self-portraits that explore blackness; the value of black bodies in America; historic violence against those bodies; and the artist’s feelings as a bi-racial Black man.

The paintings are self-portraits and are oil on canvas. Dixon’s approach is reductive with no background or setting, thus emphasizing only the figure and how the artist is perceived by himself and viewed by others. The focus is on the brush stroke, minimizing the details and capturing only the essence of emotions, expressions and gestures. The broad and bold gestures are soulful, conveying tension, frustration, pain, horror, dismay and sorrow, the artist’s experiences on a regular basis.

Michael Dixon "We Have Not Ended Racial Caste in America; We Have Merely Redesigned It", Oil on canvas 20"x20", 2015

       Michael Dixon “We Have Not Ended Racial Caste in America; We Have Merely             Redesigned It”, Oil on canvas 20″x20″, 2015

Michael Dixon "I'm a Black Man in a White World", Oil on canvas, 36"x36", 2017

Michael Dixon “I’m a Black Man in a White World”, Oil on canvas, 36″x36″, 2017

Michael Dixon, "The New Jim Crow, Oil on canvas, 60"x48"' 2015

Michael Dixon, “The New Jim Crow, Oil on canvas, 60″x48″‘ 2015

dixon exhibiton shot
“MICHAEL DIXON
I, Too, Sing America”
April 7, 2019 – May 5, 2019
David Richard Gallery, New York, NY

FRAMING SPECIFICATIONS

"I have the George Zimmerman Blues, Jazz Hands", 2018, Oil on canvas, 48" x 48"
“I have the George Zimmerman Blues, Jazz Hands”, 2018, Oil on canvas, 48″ x 48″
Capture0001-330-124MP01b_700

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Michael Rich at Old Spouter Gallery in Nantucket

Rich+Portrait+2018-1

The painter and printmaker, Michael Rich has for decades, explored the landscapes of his experience in intensely colored, gestural abstractions; lively, inventive drawings and unique monoprints.  In large-scale, works in oil, Rich trowels, scrapes and brushes together marks of color to suggest deep and illuminated spaces reminiscent of the sky and sea of his island home, Nantucket.   The critic Donald Kuspit once wrote: “For Rich sensitivity to paint is inseparable from sensitivity to landscape, and the fluid density of landscape is best conveyed by the fluid density of paint”. 

A Professor of Art, Rich approaches the landscape as a wellspring for spiritual investigation and meditation.  Observations from his garden or travels become invented forms recalling the automatic drawing that is the basis of much of his painting.  In recent years, the graphic mediums of intaglio and woodcut have offered a bridge between linear drawing and color-based painting; between abstraction and representation.

Recent featured museum exhibitions include The Bristol Art Museum (2014), The Newport Art Museum (2008) and the Walton Arts Center, Fayetteville Arkansas (2007).  Rich is the recipient of the Basil H. Alkazzi Award (USA) and was included in Sotheby’s auction series, International Young Art.  His work is featured in private and public collections nationally including, The Bronx Museum of the Arts, NY; Museum of Southern Art, New Orleans, LA and the Springfield Museum of Art, Springfield, OH.

Michael Rich lives and works in Providence, RI and Nantucket MA and is a Professor of Art at Roger Williams University, Bristol, Rhode Island.

Michael Rich "The Water We SeeK"  oil on canvas, 66" x 70 ", 2017
Michael Rich “The Water We SeeK” oil on canvas, 66″ x 70 “, 2017
Michael Rich, "Casting Nets"oil on canvas, 44" x 40", 2017
Michael Rich, “Casting Nets”oil on canvas, 44″ x 40”, 2017
Michael Rich, "Moksha", Oil and wax on canvas, 28" x 26", 2016
Michael Rich, “Moksha”, Oil and wax on canvas, 28″ x 26″, 2016

ABOUT THE GALLERY

michael rich exhibition

Since its inception in 1998 The Old Spouter Gallery with its owner-Director Kathleen Walsh has been committed to showcasing and promoting the work of Nantucket Artists, as well as Artists who are intrinsically connected to the Island.

Kathleen’s vision for the gallery was inspired by her manifold experience as Gallery Director of The Nantucket Artist’s Association’s  “Little Gallery” from 1989 to 1996. Ultimately, Kathleen saw a need for a gallery that further magnified and showcased the unique and diverse work of Island Artists.

Like the art and the Island of Nantucket – the Old Spouter  Gallery is original. The gallery represents outstanding original artwork from emerging, mid-career, and established painters, sculptors, and folk artists.

 

Michael Rich
July 20 – July 27, 2018
Old Spouter Gallery
Nantucket, MA

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