Featured Exhibitions Janet Lehr Fine Arts - Archive
Mym Tuma : Organic Abstraction
On view from August 9th - August 30th, Mym Tuma's Organic Abstraction. Sculpture, paintings and pastels fill Janet Lehr's gallery with Biota landscapes and floral harmony.
Read the interview with Michelle Trauring about Mym's friendship with Georgia O'KeeffeLet's Talk Arts: Mym Tuma Reflects On Her Friendship With Georgia O'Keeffe And Her Upcoming Solo Show at Janet Lehr Fine Arts
Aug 7, 2019 9:14 AM
By Michelle Trauring
At age 25, Mym Tuma was a newly graduated scholarship student with a master's degree in hand, having completed the painting program at Stanford University. And in her ecstasy and downright boldness, she sent a letter that would change her life.It was addressed to artist Georgia O'Keeffe - an icon among American female painters - and in it, Ms. Tuma had asked to come visit.
To her surprise, O'Keeffe said yes.
"Arriving there was a step toward the feeling of being a painter," Ms. Tuma said. "I wanted proof, in reality, that a woman painter could support herself; in other words, what is, is. Coming to see her was part of my existential philosophy - reality is based on observation."
Despite a 50-year age gap, a natural friendship blossomed, as did a patronage for the young artist, who reflects on her art career and relationship with O'Keeffe in her recently published memoir, "An Embryo of Time," which relies heavily on their written correspondence from 1964 to 1973.
To this day, their relationship stays with Ms. Tuma, who will anchor a one-woman show, "Organic Abstraction," on view starting Friday, August 9, at Janet Lehr Fine Arts in East Hampton. Before the opening, Ms. Tuma - a longtime East End resident who now lives in East Moriches - caught up with the Southampton Press to discuss her earliest artistic memories while growing up in Illinois, her friendship with one of the most significant artists of the 20th century, and where she finds inspiration today.
Q: When did you realize you had a predilection for art?
The beginning of my art was experiencing the down-to-earth love of life. We are born out of the rhythms of nature. My ideas germinated from that. It determined the universal forms I create. As a child, I was sensitive to forms - also had a family history of sewing, pattern making. My grandparents were tailors.
But without my mother's genes to create and the opportunity to play and learn to sew, my visual talent may never have developed. She taught me the power of the material - color, line, form and texture. Touching fabrics refers to the relationship of art to materials that started for me at age 6. By age 10, I could ruffle tulle to make a summer hat. The ruffle tool chugged around it, making noisy harrumphs on the edge as it pierced cardboard. I broke needles and Mom called from below the window, "What are you doing?" "Nothing Mother." Nothing much. I was pushing the sewing machine to its very limits. I find contemporary mediums compelling, in cloth, paper, paint, epoxy and fiberglass. Abstraction is my root - subjects vary in degrees of abstraction.
Q: When did you first come across Georgia O'Keeffe's work?
After landing my first job at the architectural firm of Perkins & Will, I created my notion of organic structure based on unitary biologist L.L. Whyte and some men, like architects like [Frank Lloyd] Wright and Le Corbu, before I met Georgia O'Keeffe - the influential elder artist who made a living from paintings in her lifetime.
Wright's principles of absolute integrity among his pious disciples were some architects I met at work, who gave me the House Beautiful magazine article by Laura Gilpin on O'Keeffe from April 1963 that, later, I taped to the door of my first studio. This woman walked in soft slippers on the earth. I was excited by that. My Chicago friends had planted the seed to approach her and filled in whatever Northwestern University male professors had overlooked.
Q: Why did you want to meet her?
In the 1960s, women did not aspire to careers as they do today. Now, I tolerated the ambiguity between wanting to follow long-established expectations, but also a dedication to my own voice, my own art. And I asked questions. Back then, the odds were against my becoming a painter because women were sidelined. Men did not recognize our goals. "Let the men do the painting, you know, we just washed the brushes."
Now the pendulum has swung. Women artists, poets and writers are thriving here. They lead creative lives and bring forth something beautiful from beyond the veil. Women trying to show that idea originates within the psyche, just as life originates in nature.
Q: You initiated contact by sending O'Keeffe a letter? Were you intimidated?
Planning a trip home from Stanford with my MA in painting/philosophy, with a fellow graduate student, I decided to write and ask to visit. The letter - creative, polite and personal - began with a poem: "O'Keeffe sits in her desert drawing bones, she sees bones in the road ..."
Then I sketched a large skull in pencil and we mailed it folded in a very small envelope. Her large printed notecard, "Starlight Night," arrived and was signed with her initials inside, "Yes GOK. Thanks for your page!"
I trusted my inner voice and inner vision. I wasn't easily intimidated.
Q: Why do you think she was interested in helping you?
Looking back, the simplicity of what I did was the boldness of a very young artist seeing no barriers between herself "and a living legend, a central figure in American art: Georgia O'Keeffe." Think of my naiveté, going to a veteran artist and asking for her help to launch new work. The openness and directness of my untutored approach so astonished O'Keeffe that she took me under her wing and she became a patron. If there had been 50 people who took the same approach, she would have stopped them long ago, but no one else was direct enough to say to O'Keeffe, "I understand what you're doing because I understand what I'm doing." That's the whole point in explaining how our relationship took its shape. If you stop to think about it, that's totally logical.
When I first met O'Keeffe, I was learning to survive. I brought my artworks to show her, unsure if she'd buy them. Why would O'Keeffe purchase a young artist's work? But she did, indeed, pay $2,000 for my early fiberglass form, "Obsidian, 1967."
Q: How would you describe your relationship from 1964 to 1973?
The point is, our interest in abstracting forms from nature was mutual. That fueled our relationship. O'Keeffe found a kinship with my work and thought it was honest and direct and wanted to own it; a typical reaction of people who value beauty, who are in the world of beauty and constantly exposed to it. We had talked about what I needed to paint. She knew I needed $2,000 to support my remote studio in Mexico. Since that piece appealed to her, later, it inspired her to do something else. It opened up new directions for her.
Nevertheless, I was profoundly pleased that Miss O'Keeffe was so moved and inspired by my work that she continued to correspond, and each time I drove 2,500 miles up and back until 1972.
Q: How did your friendship change you?
I have thought of all the possible reasons or whys, but what developed was what her inspiration gave to me: to be able to continue my art. What's important is how that purchase developed our relationship for the future years.
Q: Do you ever find yourself missing her?
Yes - also, Henry Geldzahler whom I met in 1992, 20 years later. His selection of my pastels for [an] exhibition [at Clayton Liberatore Gallery] in Bridgehampton sharply focused on what he called "lighted from within." Ten drawings to show the "distillation of my achievements." He used the word "beautiful" liberally with a penetrating look for how I resolved the visual elements. I was finding my way from germinal beginnings; I continue to learn that the universe and everything we know in it is a vast web of energetic forces.
Q: Where do you find inspiration today?
In 1991, right before the October storm, Hurricane Bob, I came here. Several nor'easters later, such elemental forces plus the light, the beauty and the graciousness of the natural surroundings are the focus of my work. I find solace and new possibilities in nature's seasons in the Hamptons.
I live and work in the Hamptons, as opposed to elsewhere, for much of the same reasons that brought me here. Plus, there is a savvy and sophisticated art audience in the Hamptons who value and appreciate good art. This is somewhat of a contradiction. I have an ecocentric rather than an egocentric view. Humans aren't the only species on Earth; we just act like it. But, I've found the freedom to express this sense of place good for my creative voice.
Q: What was your point of departure for the work in the upcoming show?
Anticipating my upcoming show, the work will be centered on the theme "Land Forms," including works, in particular, based on the shores of Southampton, where I find inspiration in spirals and spheres. Specifically, the exquisite light's optical effects are reflected, e.g. a painting of shells revealed in the moonlight on the beach. The coastal marine environment produces forms that birth life and regeneration. The curved horseshoe crab shell represents the monument of eons past.
Note: This interview has been edited for length and clarity.
"Organic Abstraction," a solo exhbition featuring the work of Mym Tuma opens with a reception on Friday, August 9, from 5:30 to 8:30 p.m. at Janet Lehr Fine Arts, located at 68 Park Place in East Hampton. The show will remain on view through Friday, August 30. For more information, call 631-324-3303 or visit janetlehrfinearts.com.
To Feel It & To Love It
This Friday August 2nd, 7:30 to 9:30pm Janet Lehr Fine Arts Gallery will be hosting an evening of Adam Handler's 2019 show and the music of Blue Stone Players Jazz Trio. Enjoy Adam Handler's greatest show ever with other Handler art lovers and fans: "To Feel It & To Love It"
Come See us ! Janet Lehr Fine Arts Gallery, 66 Park Place East Hampton, NY
Larry Rivers: Me and My Shadow
Vered Gallery opens its CELEBRATION OF LARRY RIVERS with the exhibition of two entire suites of works, Me and My Shadow and Oedipus Rex on Saturday evening with a gala opening to the public on Saturday July 30, from 8 - 11pm.
John Canada, the chief art critic of The New York Times called Larry Rivers "the cleverest, even the foxiest painter at work in the country," an artist who "can do anything he wants..." At a time when Abstract Expressionism ruled under the mantra, ‘nothing should be recognizable', Larry Rivers took up a seemingly ‘old fashioned, academic sort of figure painting producing in 1953 the mammoth 7 x 9 foot Washington Crossing the Delaware (MOMA New York: Permanent Collection), a work done with both the irreverence of wiped out and smeared surfaces and the strong reality of our country's first heroic figure, George Washington. In 1949-50, Clement Greenberg, the powerful critic, called him ''an amazing beginner,'' a ''better composer of pictures than was Bonnard himself in many instances.'' De Kooning in his obscure but precise way once said that looking at Mr. Rivers's art was ''like pressing your face in wet grass,'' which summed up the mixture of sensations it could provoke." Famed critic for Time Magazine Robert Hughes wrote: critic's claim that "the innovations of Rauschenberg, and to a lesser degree Johns and the Pop artists, are incomprehensible without Rivers" is plainly excessive. Nonetheless, Rivers built an important bridge between the painterliness and "touch" of Abstract Expressionism and the mass imagery of Pop-pinups, photos, print, mixed media.
Me and My Shadow consists of four larger than life size ‘mirror' images; each a sumptuous female figure and her shadow, created in 1970; constructions with photo-montage, canvas, plastic, wood and plexi.
Oedipus Rex, the 29 works comprising the entire suite created for the 1966 Igor Stravinsky Opera-Oratorio festival at Lincoln Center. It revolves around the work by Sophocles describing the plague that descended on Thebes c.400 BCE during the reign of Oedipus the King. It is comprised of 29 oil and spray painted works on linen applied to wood free-formed shaped wood panels. This suite is being shown for the first time since it premiered in 1966, and offered only en suite. It is accompanied by 7 preliminary drawings and one stencil offered individually.
On August 7, at 11am Vered Gallery will host a brunch for a conversation on Larry Rivers and the exhibition between David Cohen; Editor/Pubisher of Artcritical and Cathrine Gropper; former student of Larry Rivers, actress and playwright. Limited seating will be available. RSVP to NicolasHoyos@veredart.com or directly to Vered Gallery 631 324 3303 is advisable.
Vered Gallery is open daily from 11am - 6pm weekdays and Sunday and 11 to 9pm on Saturday. For further reproductions and information Janet Lehr 631 324 3303/c.516 353 6450
Adam Handler - Hot and Fast
In thinking about my work over the past 10 years, I can now stand back and ponder what has shaped its very creation. Being a biographical painter, my works have always been a mirror of the events that take place in my life. This is both personal and professional in my exploration of previous artists work. There are some clear inspirations that many correlate to my images such as Jean-Michel Basquiat, Keith Haring and Willem De Kooning. Although with a closer examination one may find the work rooted in a rather modernist sensibility. Artists such Henri Matisse, Paul Gauguin and Constantin Brancusi have been as equally important in the development of the current body of work up at Vered Gallery in East Hampton, NY. What attracted me to Matisse’s work was his ability to create an image that was direct and can be viewed with a narrative and without as well. His ability to construct simple figures, objects and patterns within the canvas made me rethink what’s possible in painting. For instance this figure with rosy cheeks and a cat on a simple background was so influential for me that I have been exploring that relationship for the last 3 years. In combination by relationship with my own cat and wife was the final push for me to explore this composition. - Adam Handler.
Boaz Vaadia Sculptures
"I work with nature as an equal partner. . . That's still the strongest thing I deal with today, that primal connection of man to earth. It's in the materials I use, the environments I make and the way I work."
- Boaz Vaadia.
Boaz Vaadia's work can be seen in museums and public spaces worldwide.
In New York City, the most prominent of many sites is the entrance to the residential tower at the Time Warner Center. Boaz creates his sculptures in bolted and glued layers of slate and bluestone, materials used to build sidewalks, roofs and windowsills that he began salvaging from construction sites in Manhattan’s SoHo district, where he had his first studio many years ago.
The materials themselves, which are associated with humanity’s need for shelter and community, convey meaning for Vaadia. Layering is also an important metaphor for him because of its relationship to both man and nature. “That is how some stone is formed, from layers of sedimentary deposits over millions of years,” he says “The layers also represent a person’s growth over time, which happens in layers of understanding.”
The layers also symbolize Vaadia’s own artistic evolution. He began his career at age 14, having first studied at an art school in Tel Aviv and then later at Manhattan’s Pratt Institute and the Brooklyn Museum Art School, creating abstract sculptures in stone, wood and leather that were inspired by tribal art and his fascination with sacred artifacts. But it wasn’t until 1984, after several critically acclaimed New York gallery exhibitions of his abstract work, that he began to view stone differently. I suddenly understood the layers in the stone and realized that I could create something entirely new using this concept,” says Vaadia, who traces his respect for nature and natural materials to having grown up on a farm in Israel. “I had tried to work with figures before, but it felt too derivative. Then, I saw that I could reinterpret the human figure in a way that hadn’t been done before. I surrendered to the stone.”
His sculptures morphed yet again after he moved to his Williamsburg studio in 1989 where he became enamored by huge boulders that had been unearthed at a nearby construction site. So interested did he become in them that he bought a forklift and filled his studio with them. One afternoon, he invited a few construction workers inside for lunch and was intrigued by their instinctive attraction to the boulders and how they positioned themselves on and around them. He then began introducing the boulders into his sculptures, experimenting further with formal relationships between figures and, of course, the primal human connection to stone.
Above all, it is the universality of the human experience that Vaadia seeks to distill in his art. His anonymous, featureless beings exude a serene timelessness evocative of ancient Egyptian and pre-Columbian sculpture, which Vaadia cites among his inspirations, along with such sculptors as Michelangelo, Auguste Rodin, Isamu Noguchi and Henry Moore, all of whom he credits with advancing the figural tradition through innovative explorations of form and media. Yet despite the reassuring solidity, his figures paradoxically evoke impermanence, forcing us to contemplate the awesome disparity between the human life span and the enduring quality of stone. And despite all their ancient associations, they are undeniably contemporary, recalling three-dimensional computer imagery, the cross-sections of a CAT scan or the futuristic people depicted on public signage.
Although Vaadia’s exploration of the human figure may ally him with such sculptors as Kiki Smith, Jonathan Borofsky, Tony Cragg and Antony Gormley, he occupies a category of his own, beyond purely conceptual and representational idioms. Staying true to his own quest for expansion while pushing the boundaries of his medium, his latest works are a series of layered slate and bluestone busts that are hazily defined portraits of friends and family members, who served as models and for whom the sculptures are named. Unlike the busts, his large stone figures are not based on specific individuals. The entire sculpture is in my head and hands before I pick up the chisel,” he explains of his process. Yet his figures also carry typical Israeli or Biblical names in a whimsical melding of the personal and universal.
Art thru the Looking Glass of Desire
In the mode of big bold painters, Hunt Slonem and Haim Mizrahi astound.
Each painting works, layer upon layer upon layer, Overlaying color, bold color revealed vibrantly. Both are painter's painters - each with enormous bag of technical tricks. Hunt Slonem's works so evidently delight in nature: Bunnies and Butterflies sprinkled with diamond dust. They are pure magic. Slonem's Black and White Bunnies have been dubbed 'The Channel Bunnies' by Hampton's 'fashionistas'.
Haim Mizrachi titles many of his expressionist canvases, 'music sheets', a direct debt to his musician's soul - rhythm, mood and beat, lie at their core. Haim recalls, it was 1997, without ever seeing a Pollock painting, Mizrahi began to 'Splatter and Spill', (as he calls his own method). Simply speaking, Mizrahi's sources of inspiration do not derive from Pollock, but rather from poetry and drumming. And, probably house painting as well.
Image: Haim MIzrahi. Tribe. Oil and Paint on canvas. 44 x 135 inches.
Paintings of Celebration and Hope
Haim Mizrahi has produced new and refreshing approaches to abstract painting thru the use of weaved acrylic and encaustics and flourescent painting.
Color in Modernism
De Kooning once described art history as being like a bowl of soup. You stick your hand in it and find something for yourself. Modernism succeeded Classical painting. The classic 'Old Masters' were painters who regarded the physical limitations of painting, as wholly negative. Old Master painters attempted to conceal the flat surface, the support shape and the variations of pigmentation. However, the challenge to compete with the newly invented field of photography after its advent in 1839, caused painters to recalibrate; to seek a means of expression beyond the limitations of the camera. The 'limitations,' once regarded as detrimental, came to express themselves under modernist practice as openly positive identifiers of the medium. As such, flatness, literal shape and color became primary, representative, and 'pure' qualities of the emerging modernist aesthetic. The modernist's aesthetic inclination was to withdraw from representing reality, "in favor of an increasing preoccupation with the problems intrinsic to painting itself. Problems of color and form became the tools of the modernist. Exhibited are photographs by Alvin Langdon Coburn and F Holland Day from 1907 - 1910 and paintings from 1912 - 1920 of early Modernists Morgan Russell, Arthur B Carles, Arthur Dove, Joseph Stella and Oscar Bluemner. A beautiful surprise is the 1912 landscape by John Singer Sargent, similar in expression to the watercolors from the Boston Museum of Fine Arts shown at the Brooklyn museum this past spring. Experimentation continued and artists of the 1930's are represented in the works of Man Ray, Arshile Gorky and Milton Avery. Further experimentation led to the latest work in the exhibition - a heroic, large scale Helen Frankenthaler. All will agree that without the A. B. Carles' synchronist torso 1912, the Helen Frankenthaler 1984, would not have come into being.
Colin Christian: Cosplay
Opening Reception - August 9th, 9-11pm
Vered Gallery is pleased to present Cosplay, an exhibition of new works by renown sculptor Colin Christian. This eagerly awaited exhibit will be the artist's first solo show in the US in three years. Cosplay, short for "costume play" is the inspiration for Christian's newest series of work. In Cosplay, Christian enthusiastically tackles the monumental task of reimagining some of the most iconic characters from film, literature and pop culture.
Vered Gallery returns to the Bridghampton Historical Society for the 4th edition of the premier Art Fair opening July 10th. Vered's two spacious booths will feature Modern and Contemporary Masters along side exciting new artists.
Art on the Edge - The new contemporary
Art on the Edge is an annual survey of New Contemporary Art featuring the most provocative new painters, sculptors and photographers working in their respective mediums today. Art on the Edge 2014 opens with a cocktail reception for the artists at Vered Gallery Saturday, July 5th 9-11pm. The exhibit continues through Monday, August 4th.
Heaven and Earth
Vered Gallery is pleased to announce an exhibition of recent paintings by painter and designer Elizabeth Dow.
Dow's paintings are visual snap shots of nature and reflection that explore the delicate balance of color, motion, and surface.
Vered Gallery is pleased to present #NSFW: BODIES, a group exhibition featuring figural works by both renown Modern Masters and Contemporary artists, established as well as emerging. NSFW, the internet acronym for "Not Safe For Work" playfully eludes to Vered's Contemporary spin on traditional nudes and portraiture, subject matter commonly not considered appropriate for public viewing. Included in this exhibition are paintings, photographs and sculptures by Milton Avery, Willem de Kooning, David Hockney, Steven Klein, Eric Fischl, Larry Rivers, Man Ray, Robert Mapplethorpe, Ray Caesar, Colin Christian, Michael Dweck, William King, Adam Handler, Adam Miller, Ashley Maxwell, Tyler Pilote, Peter Buchman and Jessica Lichtenstein among others.
Highlights in this exhibition include Larry Rivers' lyrical triumph, Ochre Dance, an homage to Matisse's seminal masterpiece La Danse. Case Study #13 image no. 01, a stunning photographic portrait of actors Brad Pitt and Angelina Jolie as a modern family in crisis, by celebrated Fashion Photographer Steven Klein. And, Untitled 1969 (woman in high heels), a unique painted armature for an unrealized sculpture by Willem de Kooning.
The unique perspective of this exhibition allows for the viewer to observe art of the nude and portraiture through the eyes of some of today's most exciting new talents alongside works of the Modern era from which it was inspired. One can see clearly see the evolution of the nude through the twentieth and twenty-first centuries both aesthetically and conceptually, as one moves from Man Ray's portraits of Kiki de Montparnesse (1928), to Bert Stern's iconic portraits of Marilyn Monroe (1962), and from David Hockney's cubist, photo collage rendition of actress Theresa Russell (1983) and finally onto Jessica Lichtenstein's frolicking, computer generated lovelies. The viewer will witness dramatic shifts in how New Contemporary Art movements relate to the subjective concept of physical beauty and understand how today's radical new ideas were informed by Modernism while at the same time trying to reject it's tradition, just as Modernism was by Classicism of the nineteenth century.
Also on display will be work from Marilyn Minter, Hunt Slonem, Hans Hofmann, Tim Conlon and many more.
Celebrating 100 Years of American Modernism
In Celebrating 100 Years of American Modernism 1913-2013, attention is focused on the photographic roots of Modernism, for had photography not been invented, doubtless painting would have continued on its classic trajectory, based on Renaissance perspective. On January 7. 1839, Jacques Louis Mande Daguerre demonstrated the first photographic process to the French Academy of Sciences. The minor painter De La Roche declared, "From Today, Painting is DEAD'.
First, the artist was assaulted by the 'truthful' photographic portrait. Then followed a 'trick', a natural proclivity of the lens - the flattening of the subject -giving artists another way of seeing. Finally, the last bastion of the classical artist collapsed with the ability to print halftone photographs in the newspapers, where once artists' renderings were needed to picture events thru the medium of woodcuts or engravings. Film, the moving image, first investigated as a child's toy in the Zoetrope and flip book, was a natural exploration. And most recently, computer enhanced or fully generated art.
Painting didn't die. Modernism evolved; not in one gigantic leap, but by many baby steps being felt in Europe, but not until the ARMORY SHOW OF 1913 'blew' the cover off the 'new' to Americans, did modernism come to America's shores. Alvin Langdon Coburn, protégé of George Bernard Shaw, conduit of the 'isms' creeping thru Europe's most avant garde art circles, member of Alfred Stieglitz' Photo-Secessionists, frequent exhibitor at Alfred Stieglitz' Gallery 291, which showed the works of American's John Marin and Marsden Hartley, Arthur Dove, and Europeans Auguste Rodin, Pablo Picasso, Henri Matisse; all before 1913. For Americans, the 1913 Armory show was a breakout moment. The exhibition climaxes with a heavy emphasis on the works of Milton Avery the last American Modernist, and post WWII Modern Artists, and closes with the newest in modern art.
Celebrating 100 Years of American Modernism, demonstrates both art's great roots and its great future.
Janet Lehr August 10, 2013
Art on the Edge 2013
15 Annual July Silent Art Auction
Special Lots designated to be sold 100% for the benefit of the Chabads of East Hampton and South Hampton.
Over 100 lots, inluding works by Avery, Fine, Flanigan, Graham, De Kooning, Hartley, Hockney, Hoffman, Kahn, Man Ray, Modigliani, Picasso, Porter, Rivers, Smith, Stern, Warhol,
First Bid Party June 22 from 9 to 11pm. Last Bid Closing Party 3 to 5pm at Vered Gallery.
PEEP SHOW, Jessica Lichtenstein's
first solo exhibition in the Hamptons
opens Memorial Day Weekend.
Lichtenstein, known for her anime
inspired, doll filled tableaux and the
wildly imaginative worlds she creates
with her "Word Sculptures", opens
Peep Show with a reception at the
gallery, Saturday, May 25th 9-11pm
The exhibition will run through Monday,
Say it with Flowers, Butterflies and Fantasy.
Preview 2013 opens at Vered, Gallery of Contemporary and Modern Art, Friday, January 25th. Included in this exciting contemporary exhibition are new works by Hunt Slonem, Adam Handler, Jessica Lichtenstein, Ray Caesar, Ron Agam, Steven Klein and Peter Buchman.
On view are Slonem's whimsical and colorful paintings of birds, butterflies and bunnies, Adam Handler's painted photographs and canvases, Jessica Lichtenstein's latest sexy and playful animated word sculpture Bloom, the Vibrant geometric abstractions of Israeli-American artist Ron Agam and Peter Buchman's delightful, humorous paintings of modern Americana. Very special effects are Vered's 'electric' windows.
Modern artists include mid-century works on paper and paintings by Willem de Kooning, Reginald Marsh, Fairfield Porter, Perle Fine, Wolf Kahn, Alma Thomas, Norman Bluhm, Esteban Vicenti, Pablo Picasso and Milton Avery; photographs by Weegee, Bert Stern and Man Ray.
Vered Gallery opens its new exhibition Needful Things with a Collector's Preview Thursday, October 4th at 5pm. This annual fall group exhibition features new works by Colin Christian, Grant Haffner, Ray Caesar, Adam Handler and Ron Agam as well as special selections by Yayoi Kusama, Will Cotton and Robert Mapplethorpe.
In Gallery II are works by Modern Masters Avery, Picasso, Kline, Gorky, de Kooning, Bearden, Porter, Man Ray, Lawson and many more. These exhibitions will be on display through Monday, December 3rd.
Masterworks of European and American Art for the 21st Century
On display are 50+ works by renowned painters, sculptors and photographers Arshile Gorky, Willem de Kooning, Franz Kline, Arman, Jean Dubuffet, Sam Francis, Milton Avery, Bert Stern, Oscar Bluemner, Joseph Stella, Man Ray, Romare Bearden, Perle Fine, Niki de Saint Phalle, Robert Mapplethorpe, Aleksandr Rodchenko, Tony Smith, Cindy Sherman, Vic Muniz, Pablo Picasso and many others.
Art on the Edge
Now in its third year, Art on the Edge 2012 continues to be the only exhibition of its kind in the Hamptons. Once again, this annual survey of New Contemporary Art features the most provocative new painters, sculptors and photographers workind in their respective mediums today.
Ray Caesar: Selected Works
Caesar's new body of work has a deep personal meaning for him as it touches on the hidden places in his psyche as well as reflects on childhood experiences. Virtually all of his work deals with coming to terms with the subconscious elements of his life and the way he experiences the world around him.
"My work seems to keep on the regular themes of "Hunting Back Innocence" and "Revelations of Light" and the painful process of "Self Examination" and hidden voices calling like sirens in the night. Premonitions and the worlds of pleasure and pain and ugliness and beauty and humiliation and dignity. For many people what I do is art, but for me the pictures are a communication from my subconscious to my conscious mind." - Ray Caesar
Adam Handler's sexy solo exhibition Love Junkies includes paintings and photographs themed around the often intertwined notions of relationship, obsession and sexuality.
With my work I strive for originality. I hope to entice various generations with the subject matter, while exposing it in a way that has never been done before.
- Adam Handler
Landscapes and seascapes by modern masters Milton Avery, Oscar Bluemner and Thomas Moran will be on display with contemporary works by Wolf Kahn, Jules Olitski, Robert Dash, Balcomb Greene and Grant Haffner through January 30th.
A Stitch in Jewish Time
The many artists in A Stitch in Jewish Time change our conception of materials, form, construction and creative reach. In the realm of conceptual fine art, each is outstanding and leaves an indelible impression that expands our perception of contemporary art and enhances our understanding of Jewish history, experience, and values. Individually, the artists address issues of memory and reflection, interpretations of history and ritual, and links between the past and present. They delve into aspects of the Holocaust, war, patriotism, celebration, prayer, feminism and sexuality, frequently through the inclusion of Biblical texts and sometimes challenging traditional forms. Artists in A Stitch in Jewish Time are both male and female, Jewish and non-Jewish.
The initial concept for the exhibition, curated by their director, Laura Kruger, is from an exhibition at Hebrew Union College (HUC). The show has been enlarged by the addition of photographs. As we have come to realize, a picture is worth a thousand words, whether woven or photographic, as all visual arts enhance memory.
Frank Stella: Monumental Wall Sculptures
The works in Vered's exhibition, Frank Stella: Fully Volumetric Reliefs, are boldly entwined with lived experience and Stella's interests in archeology and architecture. These sculptures, from Stella's reflections on key archeological sites in ancient Anatolia, are energetic metal wall constructions made of industrial materials. One of the greatest artists of his generation, only he and Jasper Johns have had 2 retrospectives at the Museum of Modern Art in New York.
Art on the Edge
Art on the Edge is Vered Gallery's annual showcase of the most talented artists working in New Contememporary Art. This special exhibition brings to the Hamptons the best in cutting edge painting, sculpture and photography by some of the most exciting artists working today.
10th Annual Independence Day Weekend Silent Art Auction
This year's auction beneficiary is the Turn the Corner Foundation for Lyme disease education and research. Over 75 works of Modern and Contemporary art will be auctioned off with special lots donated 100% to Turn the Corner Foundation. Artists whose work will be auctioned off include: Avery, Bleckner, Caesar, Chamberlain, Close, de Kooning, Fischl, Hockney, Klein, Lichtenstein, Mapplethorpe, Minter, Picasso, Porter, Sherman, Stern, Thiebaud, Warhol & more.
View lots and bid here or at the gallery Friday, June 24th at 11am. Auction ends at 7pm sharp Sun, July 3rd.
Raul Higuera - Couture Shock
Vered Gallery features Couture Shock, the first solo exhibition of work by hot, new fashion photographer Raul Higuera. Couture Shock features highlights of Higuera's wonderfully bizarre, sexy surreal fashion stories straight from the pages of Vogue, Elle, Marie Claire and Harper's Bazaar.
Steven Klein - Works
A collection of work from renown fashion photographer Steven Klein including his large scale horse portraits, Mad Magic fashion images, Brad Pitt and Angelina Jolie's Case Study #13 and Dolce & Gabbana's latest Pop magazine campaign.
Abstract Expressionism: The New York School
This exhibition at Vered Gallery shows many of the same artists whose works are represented in the 2011 exhibition at the Museum of Modern Art in New York; Willem De Kooning, Jackson Pollock. Esteban Vicente, James Brooks, Norman Bluehm and Michael Goldberg and adds Perle Fine, Beauford Delaney, Tony Smith, Friedl Dzubas, Louise Nevelson and a great 1945 abstraction by Romare Bearden.
Fluid Beauty - Gideon Lewin's Nudes
Botero: Paintings and Sculptures
An exhibition of mammoth paintings and sculptures from the master artist as well as some smaller paintings, sculptures and works on paper spanning four decades of the artist's career. Included in the exhibition are twenty works that exemplify many of Botero's most familiar themes including nudes, dancers and animals.
Down to Earth
Vered Gallery is pleased to present Down to Earth, an exhibition of new work by photographer Lili Almog. Almog's debut solo exhibition at Vered Gallery introduces her newest series of photographs featuring landscapes utilizing satellite imagery embellished with her own drawings.
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