Daniel Ranalli at Gallery Kayafas in Boston

Provincetown and the Outer Cape have a long history of painting. The artist’s colony there is over 100 years old, and perhaps the oldest in the U.S.

As with such places, there are certain subjects or motifs that are painted many times over the years by many artists. There is also a great deal of similarity in how they are composed and painted.

This series is based on the Day’s Cottages in North Truro. I have used a search engine to look for “Day’s Cottages Paintings” on the Web and reinterpreted those paintings by hyper-pixelating the images. All began as paintings, though I have adjusted color at times

Day's Cottage Painting #1
2016
Archival Pigment Print
22"x22" and 30" x 30", editions of 6
Day’s Cottage Painting #1
2016
Archival Pigment Print
22″x22″ and 30″ x 30″, editions of 6
Day's Cottage Painting #3
2016
Archival Pigment Print
22"x22" and 30" x 30", editions of 6
Day’s Cottage Painting #3
2016
Archival Pigment Print
22″x22″ and 30″ x 30″, editions of 6
Day's Cottage Painting #4
2017
Archival Pigment Print
22"x22" and 30" x 30", editions of 6
Day’s Cottage Painting #4
2017
Archival Pigment Print
22″x22″ and 30″ x 30″, editions of 6

ABOUT THE ARTIST

Daniel Ranalli has been working as a visual artist for over 40 years. His work is in the permanent collections of over two dozen major museums here and abroad including the Museum of Modern Art (NY), Museum of Fine Arts Boston, San Francisco Museum of Modern Art and National Gallery of American Art (Smithsonian). He has been included in over 150 solo and group shows in the U.S. and abroad.
Although largely situated within the medium of photography, Ranalli’s work can also be characterized as formalist and/or environmental. The images are frequently rooted in the balance between control and chance – such as the unforeseen results in the photogram, the found scrawls on an unerased chalkboard or the path of a snail in wet sand.
In 1993 Daniel Ranalli founded the Graduate Program in Arts Administration at Boston University where he taught until 2015. He also wrote extensively on artist issues for several publications in the 1980s and 1990s. Daniel Ranalli lives in Cambridge and Wellfleet, Massachusetts with his wife the painter, Tabitha Vevers.

Daniel Ranalli Iconic Cape Cod Paintings (This Is Not A Photograph)

April 12, 2019 0- May 18, 2019
Gallery Kayafas, Boston,MA
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“Metamorphoses: Ovid According to Wally Reinhardt” at Grey Art Gallery at NYU

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

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

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

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Rachel Doniger – Cut Paper Reliefs

About+Rachel

Rachel Doniger’s paper reliefs investigate the graphic potential of paper. A simple process of cutting and folding thousands of similar shapes yields a field defined by moments of intensity and calm. As the viewer’s glance moves from one shape to the next, they see not only a crescendo from low to high, but also the relationship between the two. Space, as perceived by the viewer, becomes an inseparable part of the image. In this way, the classic opposing relationship of figure and ground (or field) is turned on its head. If we think of figure not as an object read against a field, but as an effect emerging from the field, then we can understand figure and field to be closely aligned.

Rachel Doniger, a former architect, has been exhibiting her paper reliefs since 2014. Notable exhibition venues include the Arvada Center for the Arts, Blue Print Store, Redline Gallery and Ice Cube Gallery. Her work resides in the collection of the Chicago Ritz Carlton and in private collections across the United States.

Rachel lives in Denver, Colorado with her husband and two children. She spends much of her time outdoors observing the natural landscapes that inform her work.

 Rachel Doniger (American, b. 1979). Infinity I-VI, 2016. Cut Paper Reliefs. © Rachel Doniger

Rachel Doniger (American, b. 1979). Infinity I-VI, 2016. Cut Paper Reliefs. Private Collection, Dallas, Texas. © Rachel Doniger

1. Rachel Doniger (American, b. 1979). Untitled I-VI, 2017. Cut Paper Reliefs. Ritz Carlton Chicago Collection. © Rachel Doniger

Rachel Doniger (American, b. 1979). Untitled I-VI, 2017. Cut Paper Reliefs. Ritz Carlton Chicago Collection. © Rachel Doniger

Plicare

ABOUT THE EXHIBITION

Paper.Works which includes the works of twenty artists who use paper as their artistic medium. From cast paper to cut paper, folded paper to handmade paper.  The Paper.Works exhibit is on view at the Arvada Center for Arts and Humanities. Since its opening in 1976, the award winning Arvada Center for the Arts and Humanities has grown to become one of the nation’s largest multidisciplinary arts centers.

PAPER.WORKS

June 1 – August 20, 2017
Arvada Center for the Arts & Humanities
Arvada, Colorado

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KAT CHAMBERLIN SPRING/BREAK ART SHOW

SPRING/BREAK Art Show 2017

SPRING/BREAK Art Show is NYC’s curator-driven art fair. Participants are selected through vetted applications and provided a central theme for the art fair. The unique venues are donated to the curators and artists for each curatorial project to be realized during a major international arts week. Kat Chamberlin’s exhibit was in a room curated by Nicholas Cueva.

 

Kat Chamberlin "Clackity Click" Graphite on paper, 2016,  25 x 25
Kat Chamberlin “Clackity Click” Graphite on paper, 2016, 25 x 25
Kat Chamberlin, "Big Quarry" Graphite on Paper, 2017, 48 x 38
Kat Chamberlin, “Big Quarry” Graphite on Paper, 2017, 48 x 38
Kat Chamberlin "Sticks and Stones II No.3"
Graphite on Paper, 11 x 11, 2015
Kat Chamberlin “Sticks and Stones II No.3”
Graphite on Paper, 11 x 11, 2015
Kat Chamberlin, "Call and Response" graphite on paper, 2017, 25 x 25
Kat Chamberlin, “Call and Response” graphite on paper, 2017, 25 x 25
Kat Chamberlin "SPRING/BREAK"
Kat Chamberlin “SPRING/BREAK” Art Show
Profile: 101 with 1/2" matching spacer Wood:

ABOUT THE ARTIST

I am a Brooklyn-based interdisciplinary artist working in drawing, installation, and video. As an Armenian raised in Turkey, my work explores the stories we tell to fill vacuums of knowledge or language due to suppression or trauma.

My current series of drawings and objects are based on new language creation or using codes as coping mechanisms for communication. In the intuitive drawings, geometric forms protrude from a landscape by means of erasure. The method of subtraction by erasure speaks to an existing absence and a survivalist need to articulate from a flat graphite void. Sometimes mythologies are born in the absence of clear truth, producing glyphs and ritual symbols. Other times, language leads to the definition of space; architectural structures become stacked floors, tombstones, mausoleums, and undefined totems.

Kat Chamberlin

SPRING/BREAK ART SHOW
March 2, 2017 – March 5, 2017
New York, NY

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101 maple with pickled white finish

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VOSTELL CONCRETE 1969–1973 at Smart Museum of Art

In the late 1960s and early 1970s, Fluxus co-founder Wolf Vostell (1932–1998) used concrete as an actual material and an artistic motif in a surprising, unique body of work that includes the colossal sculpture Concrete Traffic.

David-Katzive,-Concrete-Traffic-(Historical-photographs,-MCA-archives)_850x340-1

David Katzive, installation view of Wolf Vostell’s Concrete Traffic, January 1970.
(Collection of the Museum of Contemporary Art Chicago. Photo © MCA Chicago.)

During this time, Vostell mobilized concrete’s ambivalent connotations of permanence and inflexibility, strength and violence, to engage with postwar urbanism, particularly German reconstruction and American urban renewal; with unrest and war, including the civil rights marches in Selma, the Paris student protests, the Vietnam and Cold wars; and with the international, if not yet global world, particularly as manifest in transatlantic travel, postcards, and the Munich Olympics.

Vostell Concrete is animated by questions of why the materials of art making matter and how they signify. It features the artist’s little known, first uses of concrete and redresses a too-limiting understanding of Vostell as a mere performance artist or belated German Pop artist. Drawn from the Smart Museum and other local, national, and international collections, the nearly 50 works on view span a variety of media, from sculpture to film, performance, collage, watercolor, and printmaking.

CONCRETE HAPPENINGS

The exhibition is part of Concrete Happenings, a collaborative series of public exhibitions, screenings, symposia, and happenings that mark the return of Vostell’s colossal Concrete Traffic (1970) to public view following a major conservation effort. The sculpture—a 1957 Cadillac encased in concrete—is part of the University of Chicago’s public art collection.

Wolf Vostell, Olympia (I), ed. 74/100, 1972, Screenprint on light cardboard. Smart Museum of Art, The University of Chicago, 2014.1.1. Art © The Wolf Vostell Estate.

Wolf Vostell, Olympia (I), ed. 74/100, 1972, Screenprint on light cardboard. Smart Museum of Art, The University of Chicago, 2014.1.1. Art © The Wolf Vostell Estate.

Wolf Vostell, T/N Raffaello, ed. 12/120, 1970, Silkscreen in two colors on cardboard. Smart Museum of Art, The University of Chicago, 2016.16. Art © The Wolf Vostell Estate.

Wolf Vostell, T/N Raffaello, ed. 12/120, 1970, Silkscreen in two colors on cardboard. Smart Museum of Art, The University of Chicago, 2016.16. Art © The Wolf Vostell Estate.

Smart-CementCloud_3000

Wolf Vostell, Fliegende Zementwolke ueber Chicago (Flying Cement Cloud over Chicago), 1970. Cement on print mounted on chipboard. Smart Museum of Art, The University of Chicago, 2016.17. Art © The Wolf Vostell Estate.

“VOSTELL CONCRETE 1969–1973”

January 17 – June 11, 2017

Smart Museum of Art     

University of Chicago    Chicago, Illinois

 

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Custom Frame Acrylic: 1/8″ regular acrylic cut to size
Custom Frame Backing Board: 1/4″ archival coroplast cut to size
Framing Advice: fitting gallery frames

 




ART AND ARCHITECTURE OF THE JEWISH GHETTO IN VENICE, ITALY BY RACHEL SINGEL

Ponte
Copy of Campo
Copy of Gates
RACHEL FRAMED

“The year 2016 marks the 500th year since the establishment of the Jewish, Ghetto in Venice, the first ghetto ever in existence. To honor the historical anniversary and the influence this uniquely urban space has had on the development of contemporary architecture, I worked on-site in Venice for two months to create a series of etchings illustrating the buildings, structures, and streets of the Ghetto. These are in exhibitions both nationally and internationally so as to foster the Jewish heritage and guarantee its future as a key religious, cultural and artistic site open to the Jewish Community of Venice and all people worldwide.

The imagery calls attention to the Venetian Ghetto’s significance, not only as an important architectural complex within the confines of Venice, but also its worth internationally. Its structures are resonantly symbolic— representing a community’s resolute will to survive and prosper in what was an exceedingly hostile social environment. The Venetian Ghetto is a study of “. . . violent contrasts; luxury and poverty, freedom and segregation—a microcosm in fact of the condition of mankind.” Rachel Singel

“Art and Architecture of the Jewish Ghetto in Venice, Italy” by Rachel Singel
January 7, 2017 – February 21, 2017
J. Patio Gallery
Louisville, Kentucky

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INVASIVE: Photographs by David Luke

David Luke’s body of work, Invasive, combines photographic imagery of northern Minnesota’s boreal forest with the state’s southern and central prairies. These collaged images visualize imminent transformations to the state’s land and water due to climate change and invasive species.

david luke exhibition shot
David Luke "Big Lake, Boundary Waters"
Archival Inkjet Print
David Luke “Big Lake, Boundary Waters”
Archival Inkjet Print
David Luke: "Big Moose Lake, Boundary Waters"
Archival Inkjet Print
David Luke: “Big Moose Lake, Boundary Waters”
Archival Inkjet Print
David Luke "Little Indian Sioux River, Boundary Waters" Archival Inkjet Print
David Luke “Little Indian Sioux River, Boundary Waters” Archival Inkjet Print
David Luke "Duncan Lake, Boundary Waters"
Archival Inkjet Print
David Luke “Duncan Lake, Boundary Waters”
Archival Inkjet Print

The foundation of Invasive has two very distinct seeds and points of inspiration. The first revolves around spending many summers as a child on the St. Lawrence River in upstate New York. During this time, I watched what was considered a “normal” stained waterway turn crystal blue/green due to the quick and efficient work of non-native zebra mussels. The transformation of such a massive waterway in such a short amount of time was ecologically alarming but also visually shocking. Visiting the river, now as an adult, I am still taken aback by the hue of the water.

The second seed for this project came in hearing a lecture by Dr. Lee Frelich, Director of The University of Minnesota’s Center for Forest Ecology, several years ago. He outlined the very real potential for Minnesota boreal forests -Minnesota Northwoods- in places such as the Boundary Waters Canoe Area Wilderness to transition into prairie due to climate change. As Minnesota warms, prairie moves further north. As a frequent visitor to this wilderness area, the thought of this transformation is a vision that has stuck with me and frightened me.In the summer and fall of 2016 I photographed boreal forests and lakes in the Boundary Waters as well as the state’s south and central prairies. I then combined and manipulated these images to create altered landscapes that reflect potential changes in Minnesota’s diverse ecology due to climate change and invasive species.Hearing about invasive species and seeing the effect of invasive species are two different things. Hearing about the very real possibility of northern Minnesota transitioning to prairie and seeing it are two different things. Through manipulation Invasive is an effort to visualize and stare down this ecological transition.

About the Artist
David Luke is a 2016 recipient of an Artist Initiative grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.

“INVASIVE” The Photographs of David Luke
January 9 – February 19, 2017
Architecture and Landscape Architecture  Gallery
University of Minnesota
Minneapolis, MN

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JPEG Mountain: New Work by Cassandra C. Jones

Collecting thousands of found digital images, Jones organizes them to create colorful and unexpected collage works that float like botanical drawings on stark white backgrounds. The work reflects the disparate influences in Jones’ life: technology and the natural beauty of the landscape that surrounds her Ojai Valley home. With Jones’ meticulous touch, images of nature are morphed through the digital process to create a surrealist representation of nature viewed through a digital prism.

Cassandra C. Jones lives and works in Ojai, CA. She received her BFA from California College of Art and her MFA from Carnegie Mellon University. Her work has shown in venues throughout the US and Europe including Mass MoCA in North Adams, MA, Museum of Contemporary Art is Santa Barbara and Prix Ars Electronica in Linz, Austria. Jones has also been included in Invitational Only residencies at The Drake Hotel in Toronto, ON and Egon Schiele Art Centrum in Český Krumlov, CZ and her life and career were profiled by Focus on the Masters in Ventura, CA in 2008.

Orchid Seeding 2, 2016
Archival Inkjet on Cotton Rag
24 x 30 in, 60.9 x 76.2 cm
Edition of 2
Copyright: Cassandra C. Jones

Orchid Seeding 2, 2016 Archival Inkjet on Cotton Rag

24 x 30 in, 60.9 x 76.2 cm, Edition of 2 Copyright: Cassandra C. Jones

Pretty Little Birds of Prey, 2016 
Archival Inkjet on Cotton Ra
24 x 30 in, 60.9 x 76.2 cm
Edition of 2
Copyright: Cassandra C. Jones

Pretty Little Birds of Prey, 2016 , Archival Inkjet on Cotton Rag,

24 x 30 in, 60.9 x 76.2 cm Edition of 2 Copyright: Cassandra C. Jones

Seven for Rose, 2016 
Archival Inkjet on Cotton Rag
20 x 24 in, 50.8 x 60.9 cm
Edition of 2
Copyright: Cassandra C. Jones

Seven for Rose, 2016 , Archival Inkjet on Cotton Rag

20 x 24 in, 50.8 x 60.9 cm Edition of 2 Copyright: Cassandra C. Jones

Fresh Water, 2016 
18 x 24 in, 45.7 x 60.9 cm
Archival Inkjet on Cotton Rag
Edition of 2
Copyright: Cassandra C. Jones

Fresh Water, 2016  18 x 24 in, 45.7 x 60.9 cm Archival Inkjet on Cotton Rag,  Edition of 2
Copyright: Cassandra C. Jones

“JPEG Mountain: New Work by Cassandra C. Jones”
Oct. 13, 2016 – Dec. 4, 2016
Porch Gallery Ojai
Ojai, CA

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GALLERY FRAME

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Atsuko Morita “365” at Space236 in San Francisco

2014CalendarPoster
2014 April at Space 236

The “365 ” exhibit is now over two years in the making. Using a pinhole camera I crafted specifically for this project, I have captured one moment from each day in my life. The photos are clustered by month, with a small portion of the negative exposed for each calendar day.365 Camera

I have been producing projects for years using traditional film photography. In addition, I have made my own pinhole cameras (camera obscure) for many of my projects. With the exposed film, I use traditional darkroom techniques to print my photographs. I choose to spend my time and energy photographing and printing this way because the results are beautiful continuous tone color (chromogenic) prints. There is an elegant preciousness to traditional photography because analog mimics life.

Morita earned a coveted opportunity to print this “365”  series, in the labs at Rayko Photo Center in San Francisco.

 

space 236

“Intersections – Group Show”
6/2016 – 8/2016
Space236
236 Leavenworth Street
San Francisco, CA

FRAMING SPECIFICATIONS AND ADVICE

101 maple with clear finish
101 maple with clear finish

METRO GALLERY FRAME

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