Friday, May 5, 2017

Carl Solway Gallery at Frieze New York


USCO and Gerd Stern
Works from the 60's

Opens Today
Friday, May 5th through
Sunday, May 7th 2017
Fri 11-8/Sat 11-7/Sun 11-6
Randall's Island Park
Booth D30 · Spotlight Section


Wednesday, May 3, 2017

Carl Solway Gallery at Frieze New York




USCO and Gerd Stern
Works from the 60's

Friday, May 5th through
Sunday, May 7th 2017
Preview Day, Thursday May 4th
Randall's Island Park
Booth D30 · Spotlight Section



  USCO (Gerd Stern, Michael Callahan)
  Contact Is the Only Love, 1963/2000
  Metal, concrete, rubber, custom electronics, lights
  30.5 x 21 x 10 inches
  Edition of 6


Friday, April 7, 2017

Catherine Richards Performance at Carl Solway Gallery, April 8, 2017


Carl Solway Gallery
Catherine Richards · Performance / April 8th, Saturday, 2-4pm


Catherine Richards · Performance
Saturday, April 8th, 2017
2:00pm - 4:00pm

Rotating Hierarchy
featuring Capricious Alignment


Rotating Hierarchy animates the visual infinite that Catherine Richards' show Capricious Alignment proposes. This performance extends the visitor’s perceptual engagement with the work through light, projection, and the human body. Textile prints and polychrome aluminum sculptures combine to form a total environment. The space is flattened through light - dematerializing fiber and metal into a unified perceptual field. Depth is voided. Sculpture becomes shadow. Object and image repeat as singular and infinite areas. Physical embodiment of all male performers create linkages between structures. The sculptures are meditative zones of intensity. Each individual is clothed in a red, blue, or white kaftan or kimono. Silent steps and movements through the gallery show zones of power and displacement of power. 

Capricious Alignment features immersive textile prints and polychrome aluminum sculptures. Order, decoration, and color create a dynamic psychology of space. The viewer’s perceptual experience is heightened by the sequential nature of both the tapestries and open grid structures. The juxtaposition of repeating floral environments alongside minimalist sculpture open a dialogue between the dualist ideologies of order and chaos. The sculptures and textile environments question the traditional signs of stability and architectural material hierarchy. Boundaries between exterior and interior are rendered fluid and playful.









Copyright © 2017 Carl Solway Gallery, All rights reserved.

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Monday, March 27, 2017

Julian Stanczak (1928-2017)

Julian Stanczak, globally renowned Op artist based in Cleveland, has died at age 88 
SEVEN HILLS, Ohio - Julian Stanczak, a native of Poland who survived World War II as a child to become a globally renowned exponent of Op Art and a revered professor at the Cleveland Institute of Art, died Saturday morning at his home here at age 88.
Barbara Stanczak, the artist's wife and a respected abstract sculptor and former Cleveland Institute of Art professor, shared the news of her husband's death in an email to more than 80 friends and associates across the art world just after 9 p.m. Saturday.
"I want to let you know that Julian is in paradise now," she wrote. "He has found peace after an exciting life filled with tragedies as well as many blessings, success, hard work and glorious visions which he communicated through his art."
Reached at home late Saturday, Barbara Stanczak said her husband died under hospice care after having been treated for pneumonia and other illnesses.
"Everybody knows he was a unique human being, not only a talented artist, but as a person, unsurpassed," she said.
 Working through pain
Despite suffering great pain in recent years from injuries suffered as a child in a Soviet labor camp, Stanczak continued to turn out astonishingly precise and meltingly beautiful geometric abstractions that radiated serenity, calm and a sense of wonder about light, color and the visual energy of linear patterns.
And, after decades in which his work and that of other Op Artists was viewed with enormous disfavor, if not ridicule, Stanczak lived long enough to see a complete turnaround in the art world's view of his art.
Over the past decade and a half, Stanczak's work was the subject of more than 20 exhibitions in the U.S. and Europe and numerous publications including a 320-page monograph written by Polish art historian Marta Smolinska published in Polish and English in 2014.
Prices for Stanczak's work have also skyrocketed in recent years, reaching as high as $300,000. 
In 2012, Bloomberg-Artnet listed Stanczak as No. 6 on its list of the 15 "hottest artists" in the world, based on percentage increases in prices from the starting year of 2000. 
During the past decade, Julian Stanczak's art has been enthusiastically rediscovered by museums, galleries and collectors.
"I am numb," Stanczak said in a 2009 interview at his home and studio in Seven Hills. "Once you get older, you look at it with a cat's smile. It's very pleasant, but where have you been all this time when I needed you?"
Cleveland artist Julian Stanczak, who rocketed to fame as a progenitor of Op Art in the 1960s, is enjoying renewed acclaim.
Stanczak was a diminutive man who lived an epic life. He escaped from the Soviet labor camp in Perm, Siberia in 1942 at age 14 and traveled through Teheran, Iran and India; before living out the war years in British-controlled Uganda, where he nurtured dreams of becoming an artist.
Rise to greatness
Stanczak later studied art in London, England. He emigrated to the United States in 1950 and earned a bachelor's degree in art at the Cleveland Institute of Art in 1954. He then proceeded to Yale University, where his professors included the famous former Bauhaus instructor Josef Albers.
After completing his master-of-fine-arts degree at Yale in 1956, Stanczak took a teaching position in Cincinnati, where he lived until he moved to Seven Hills in 1964, with his wife.
They turned a modest, mid-century home into a comfortable modernist-style refuge filled with artworks and with furniture that Stanczak built by hand. And they raised their children,  Christopher and Danusia and cared for Stanczak's aging parents, who moved into the house across the back yard    
In a large studio on the rear of the house, Stanczak produced vibrant geometric abstractions with precise linear and geometric patterns in scintillating hues and patterns.
Creating with one arm
Amazingly, he did it all with the use of only his left hand and arm.
He was a unique human being, not only a talented artist, but as a person, unsurpassed.
After Soviet troops occupied his hometown of Borownica, Poland, Stanczak was deported at age 11 with family members to the labor camp in Siberia.
He was beaten so severely there that he lost the use of his right arm - a terrible fate for a future artist who was right-handed.
"I still dream I am using my right arm," Stanczak said in a 2009 interview at his home and studio. "Then in my dreams, I correct myself."
Stanczak made up for his handicap in numerous ways including his construction of rotary cutting device made of gears, spools and blades that allowed him to slice strips of masking tape he needed for his abstractions in highly precise widths.
Stanczak's type of art was so precise that deviations from perfection would have drawn the eye to any flaws.
Yet Stanczak achieved extreme precision both in his taping and painting techniques and in his ability to mix colors in highly subtle gradients of hue and light-dark value.
Early spotlight
In 1965, Stanczak participated with artists such as Victor VasarelyBridget Riley and Richard Anuszkiewicz in "The Responsive Eye," the exhibition at the Museum of Modern Art in New York that made Op Art an instant sensation.
Stanczak later said Op Art "is nothing but scrutiny of how we go about seeing -- how much is sight, how much is mental interpretation."
After a surge of popularity in which Op Art patterns appeared on everything from album covers to apparel, the movement suddenly fell into eclipse as a victim of rapidly changing art world movements and styles.
Roller coaster reactions
The leading critic and art historian Barbara Rose wrote at the time that, "Op Art goes Pop [Art] one better by being considerably more mindless."
Barbara Stanczak said viewed such harsh attacks to be the work of "throat-cutters."
Despite being considered quaintly irrelevant by critics and curators for nearly three decades, Stanczak continued to pursue his vision.
"Having those 30 years of anonymity in Cleveland and being away from New York made his work stronger," Barbara Stanczak said in a 2009 interview.
Beloved teacher
Meanwhile, he became a highly respected instructor at the Cleveland Institute of Art, where he taught from X to Y, and where his students included future luminaries such as the landscape painter April Gornik, and Dana Schutz, known for her bold, imaginary visions.
Barbara Stanczak's email announcing her husband's death was addressed to Gornik, Grafton Nunes, president of the Cleveland Institute of Art, and numerous collectors, art dealers and artists.
In addition to his wife, Stanczak is survived by his brother, Mark Stanczak, and his daughter-in-law, Mary Stanczak, both of Seven Hills; a son, Christopher Stanczak, of Los Angeles; a daughter, Danusia Casteel, of Norton, Ohio; two grandchildren and a great grandson.
Arrangements are in care of Ferfolia Funeral Home in Aurora. Donations may be made to the Julian Stanczak Scholarship Fund at the Cleveland. Institute of


Tuesday, March 7, 2017

Peter Halley Gouaches on View at Karma, New York


KARMA
Peter Halley
Boats Crosses Trees Figures
Gouaches 1977–78

March 1–31, 2017


KARMA
188 East 2nd Street
New York, NY 10009


Karma is pleased to announce Peter Halley, Boats Crosses Trees Figures, a survey of the artist’s early works on paper produced in 1977 and 1978, during his years living in New Orleans.

In these gouaches and cut-paper collages, color-saturated grids of squares and rectangles are assembled into a lexicon of symbolic representations of landscapes, boats, teepees, crosses, and the human figure. The works draw from an exuberant range of sources including Navajo and Hopi traditions, Islamic art and architecture, West African textiles, the paper cut-outs of Henri Matisse, and even David Hockney’s waggish LA paintings of the 1960s.

Embracing an ebullient anthropological romanticism, these works of the late 70s stand in stark contrast to the pessimism soon to appear in Halley’s austere works of the 1980s, with their emphasis on the here-and-now of a society dominated by capitalism and digital technology.

As described in Richard Speer’s catalogue essay, “Before the Fall,” Halley’s use of high-keyed geometry in these New Orleans works persists, even though his world view becomes radically transformed. The idyllic vision that the artist, then in his 20s, constructed in verdant New Orleans gives way to the postlapsarian dystopia of New York, the Reagan era, and the digital carceral.

A new publication cataloguing Halley's gouaches with a text by Richard Speer has been published on the occasion of the exhibition. 

Peter Halley, Boats Crosses Trees Figures 1977-78
Text by Richard Speer
Karma, New York, 2017
136 pages, Hardcover
10 1/4 x 12 1/4 inches
$40 Purchase

www.karmakarma.org

Matthew Kolodziej Exhibition at the University of Mount Union

Matthew Kolodziej

Intervals:  Small Works

March 3 - April 2, 2017

Reception March 16, 4-6 pm


Sally Otto Gallery
University of Mount Union

Giese Center for the Performing Arts
35 W. Simpson Street

Alliance, OH 44601






Matthew Kolodziej, Storage, 2016, acrylic on canvas, 14 x 17 inches


Matthew Kolodziej, Slice, 2016, acrylic on canvas, 14 x 17 inches


Matthew Kolodziej, Lumen (detail), 2016




Matthew Kolodziej Included in Exhibition at Cleveland State University

The Galleries at Cleveland State University
1307 Euclid Avenue
Cleveland, OH  44115\216-687-2103

THE CURIOUS CASE OF COLOR
Exhibition:  March 10 - April 15, 2017
An exhibition exploring color as a primary perceptual phenomenon with works by:


Audra Skuodas  
Julian Stanczak  
Matthew Kolodziej 
Lorri Ott  
Rachel Beamer  
Lynda Britton  
Dennis Long  
Paul O’Keeffe  
Lorri Ott  
John Pearson
Qian Li 
Douglas Sanderson  
Anna Tararova 



Matthew Kolodziej, Muses, 2016, acrylic on canvas, 108 x 180 inches


Matthew Kolodziej, Muses (detail)


Matthew Kolodziej, Muses (as installed)



Wednesday, February 1, 2017

Matthew Kolodziej's Paintings on View at Moss Arts Center at Virginia Tech


 ARTISTS AND ARCHITECTURE: 
PROJECTION/CONVERGENCE/INTERSECTION 
James Casebere Amy Casey Dionisio González Candida Höfer 
Matthew Kolodziej Jean-François Rauzier Jennifer Williams 
This exhibition is supported in part by a gift from 
Dr. Charles Y. Davis and Mrs. Carole C. Davis. 
January 19–April 1, 2017 
All galleries

Given the pivotal role and great influence that architecture plays in the human experience, it is not surprising that some artists have found it to be a rich medium to probe—figuratively and thematically—as they explore and attempt to understand the world in which we live. In every society architecture has in some way reflected the ideals, practices, and beliefs of the people who live, work, and worship in the buildings of their towns and cities, and throughout history, the greatness of civilizations has to a significant extent been established by architectural achievements. As life in the 21st century is increasingly centered in urban and metropolitan areas, the role of architecture and the architectural aesthetics of our homes, workplaces, and civic buildings assumes ever more importance. Architecture determines to a great degree what our visual experience is—what we see and what we are surrounded by in our daily lives. 
This exhibition features a selection of large-scale works by exemplary emerging artists, as well as some of the most acclaimed national and international artists of our times who inventively engage aspects of architecture in their creative endeavors. Spanning the practices of photography, painting, installation art, and works on paper, the artists in this exhibition project, converge, and/or intersect architectural images and ideas into visually arresting and conceptually layered works of art while addressing underlying issues of history, memory, and place.
Candida Höfer’s resplendent and breathtaking photographs delve into history, bringing into sharp focus architectural splendors of the past. Her magnificent interiors of grand libraries, palaces, opera houses, and theatres reference human achievement of the highest order, yet are devoid of human presence. Infused with this uncanny yet profound paradox, these extraordinarily works signify far more than literal representations of place.
James Casebere too speaks eloquently to history as well as to memory and place in his stunning large-scale photographs of Thomas Jefferson’s most acclaimed architectural achievement—Monticello. Casebere represents Jefferson’s interiors as gorgeous dreamlike spaces flooded with light and shimmering pools of water. But in a conceptual twist on both history and reality, what he portrays in these photographs is not real. These hauntingly beautiful works are created with table-top models that the artist builds, lights, and photographs, essentially reinventing and reconstructing Jefferson’s iconic architectural spaces. “Everything l photograph is a fabrication,” Casebere says. “There’s nothing ‘real’ in my work. I am interested in how photography creates and reconstructs reality.”
Amy Casey’s meticulously detailed acrylic paintings on paper or panel also “reconstruct” the built environment into wild representations of reality. Her fascination with cities and “urbanscapes” is conveyed in these works by surreal clusters of houses whirling in space, precariously suspended at the brink of impending disaster. Less concerned with phenomenology than Casebere, Casey’s depictions of a teetering, chaotic world elicit a very real socio-economic commentary on the uncertain state of affairs in 2009 during the midst of a recession and housing bust. In Hold On, a painting from 2016, elements are more firmly interconnected and bound together, conveying struggle but also resilience and endurance in the face of continuing and pervasive uncertainty.
Jean-François Rauzier’s monumental photographs, or “hyperphotos,” as he terms them, are gigantic, hyper-realistic photographic reconstructions of architectural locations, ranging from the galleries at the Metropolitan Museum of Art in New York to the halls of Versailles, France. Taken from multiple angles and distances, each of his compositions is made up of hundreds and often thousands of digitally composed and reconstructed images with unusually high resolutions. What this achieves is a visual language of extraordinary detail that allows the viewer to zoom in on the most minute details in the midst of vast scale. Compounding the complexity of these works is how the artist juxtaposes, duplicates, and manipulates images to create “hyper-real” architectural fantasies where the real and unreal collide.
Amy Casey

More elusive and steeped in richly tactile, almost viscous surfaces are Matthew Kolodziej’s abstract canvases. His paintings are initially based on his perceptions and documentation of actual archeological and/or architectural sites that he photographs, renders into computer drawings, reconstructs conflating multiple points of view, and then projects onto canvas as a foundation for thick, densely layered paintings. The results are a complexity of tenuous, ever-shifting spatial perspectives that seem to alternate between expansion and contraction, creation and destruction, stability and chaos. In these mesmerizing paintings Kolodziej explores the archaeology and architecture of space, metaphorically probing sites of construction, demolition, transition, and catalytic change.
Realistically depicted and anchored in specific locations are Dionisio González’s stunning panoramic vistas of Vietnam’s Halong Bay in the Gulf of Tonkin. Situated along the spectacular coastline in northern Vietnam, this formerly isolated geographic area is inhabited mainly by impoverished,once secluded people living in houseboats on the water. González captures the extraordinary beauty of this area in expansive digital photographs, into which he interjects imaginary modern and contemporary architectural structures. Likewise, in the Brazilian slums of González’s Favela (2004-2007)series the artist creates the same kind of hypothetical intervention, digitally reconstructing photographic space to comment on the significance of place, social inequities, the collision of global cultures, or, as the artist suggests, a reimagining of possibilities or future utopias.
This projection, convergence, and intersection of architectural images into alternate pictorial realities also characterizes Jennifer William’s site-specific photographic installation, Blacksburg Unfurled (2016-2017). Created specifically for this exhibition and based on the history, architecture, and community of Blacksburg, this 120-foot long mural installation is composed with hundreds of photographs that the artist took of architectural sites and historic locations in town. She then digitally altered, reconstructed, and composed the architectural images into a dynamic photomontage printed on Photo-tex in a wildly imaginative reconfiguration of the built environment that speaks to history, memory, and place.
By incorporating architectural images and ideas in their work, the artists in this exhibition, from James Casebere to Jennifer Williams, engage in collapsing real and fictive imagery, and in so doing, uncover a depth of ideas and perspectives about our world, both past and present. Large in scale and visually seductive, their art takes the intersection of architecture and life as a platform to explore, ponder, and heighten awareness of a variety of ways that architecture and the built environment impact the human experience. 
Margo Ann Crutchfield
Curator at Large

Monday, January 30, 2017

Three New Exhibitions Opening at Carl Solway Gallery




Opening
Friday, February 3rd, 2017

Catherine Richards
Eva Kwong
Hildur Ásgeirsdóttir Jónsson

February 3 – April 29, 2017
Reception 5:00-8:00pm
All three artists will be present

Catherine Richards
Capricious Alignment
New Works

Perceptual Screen w.w.
2017
Painted Aluminum
7 x 8 feet

Capricious Alignment V in blue orchid  
2017
Digital textile on cotton
10 x 8 feet
Catherine Elizabeth Richards is an architect and visual artist. Her work expands the understanding of architecture at different scales; from discrete objects, sculpture and installations to city-wide interventions. Richards works between mediums, exploring architecture and perception with materials, experimental photography and video.

Her installation for Carl Solway Gallery, Capricious Alignment, features immersive textile prints and polychrome aluminum sculptures. In her words, ”Order, decoration, and color create a dynamic psychology of space. The viewer’s perceptual experience is heightened by the sequential nature of both the tapestries and open grid structures. The juxtaposition of repeating floral environments alongside minimalist sculpture opens a dialogue between notions of order and chaos. Boundaries between exterior and interior are rendered fluid and playful.”

For example, her piece Valance draws upon the history of glass architecture. This lighted glass sculpture incorporates plant patterns etched directly into the surface. The viewer’s reflection merges with the transparent structure, itself a meditation on inside and outside. Her family’s farm in Michigan, a historic site where botanists developed hybrid species of apples and cherries, is largely responsible for her plant-based references. Valance was first shown in 2014 at ArtPrize in Grand Rapids, Michigan.

Richards holds Master of Architecture and Bachelor of Science degrees in Architecture from the University of Cincinnati, College of Design, Architecture, Art and Planning where she now teaches. She is a co-founder of the art collective Hark + Hark, with Anh Tran. Hark + Hark created an installation for Marchon Eyewear in New York City, that traveled to Paris, London, Berlin and Tokyo in 2016 and is now in the company’s permanent collection.

Eva Kwong
Love Between The Atoms
Recent Ceramic Sculpture

Arosso
2016
Stoneware, wheel-thrown, colored slips and underglazes
20.5 x 8 x 9 inches
Eva Kwong’s exhibition of ceramics will include free-standing sculpture and sculptural wall installations made from many elements referencing biological sources such as bacteria, diatoms and cells. Smaller pieces reflect her personal interpretation of the traditional vase form. Working in the material of clay, Kwong explores a philosophical connection to the union of opposites.

Her title, Love Between the Atoms, refers to the attraction between the protons and the electrons in an atom. In her words, “I see this attractive force as something that bonds us all together in this world. It is this attractive force which forms bonds at the subatomic level that makes things work in the physical world that we experience. It is this attractive force that enables us to build forms with clay and to draw people together and build relationships with each other. In many ways, mutual attraction of one form or another is what enables us to connect and create interactions on microcosmic as well as macrocosmic levels, from the physical to the emotional.”

”Maybe it is because I grew up with both eastern and western cultures. I was brought up with the traditional Chinese concept of yin and yang that underlies all life forms and energies. Growing up in Hong Kong and New York, I learned to look at everything through the lens of both cultures.”

Eva Kwong’s work is included in numerous collections internationally including the Cranbrook Museum of Art, Bloomfield Hills, Michigan; Finnish Craft Museum, Helsinki, Finland; Janet Mansfield Collection, Mansfield Ceramics, Gulgong, Australia; Minneapolis Institute of Art, Minnesota; Shigaraki Park Ceramic Museum, Shigaraki, Japan and Fule International Ceramic Art Museums, Fuping, China.

Kwong received an MFA in Ceramics and Drawing from the Tyler School of Art, Temple University in 1977 and a BFA in Ceramics and Sculpture from the Rhode Island School of Design in 1975.

Hildur Ásgeirsdóttir Jónsson
Based on a Photograph
New Woven Works

Based on a Photo, Medium #5
2017
Silk, industrial dyes
46 x 47 inches
References to the macrocosms and microcosms of the natural world abound in the woven paintings of Hildur Ásgeirsdóttir Jónsson. Painting on silk threads in a process related to ikat, her imagery is loosely based on landscape photographs of her native Iceland. The sources are often close-up images of lichen, but they also abstractly allude to larger swaths of land and sky. By painting with industrial dyes on the detached warp (vertical) threads of her works, attaching these dyed threads to a large-scale loom and weaving in the weft (horizontal) threads, she creates slightly off register, shimmering woven paintings that suggest expansive space rather than any literal sense of place.

Jonsson has received numerous grants, commissions and awards including The Louis Comfort Tiffany Foundation 2015 Award, the Cleveland Art Prize in 2008, four fellowships from the Ohio Arts Council and a public commission from the Hilton Hotel Convention Center, Cleveland in 2016. Her work is included in many collections such as The Cleveland Art Museum, Reykjavik Art Museum, Akron Art Museum, Progressive Insurance Collection and Cleveland Clinic Foundation. Solo shows include Tibor De Nagy Gallery, New York; TANG Museum, Saratoga, New York; Reykjavik Art Museum, Iceland; and MOCA Cleveland. She was also included in the 2015 group exhibition, Pretty Raw: After and Around Helen Frankenthaler at the Rose Art Museum at Brandeis University.

Hildur Ásgeirsdóttir Jónsson was born in Reykjavik, Iceland in 1963 and still maintains a home there. She resides in Cleveland, Ohio for much of the year and makes annual visits to Iceland to gather more source material for her paintings. She received MFA and BFA degrees from Kent State University in 1995 and 1991 respectively. She earlier studied at the Cleveland Institute of Art and the architecture program of Kent State University.





Hours: Monday – Friday 9:00 – 5:00 pm / Saturday 12:00 – 5:00 pm / tel. 513.621.0069
Carl Solway Gallery
424 Findlay Street
Cincinnati, OH 45214