painter http://culturecatch.com/taxonomy/term/203 en Ron English (2010) - The Dusty Wright Show http://culturecatch.com/vidcast/ron-english-2010 <span>Ron English (2010) - The Dusty Wright Show</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>November 12, 2010 - 11:10</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/vidcast" hreflang="en">Vidcast</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/500" hreflang="en">celebrity interview</a></div> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/cVDUQoBBLsY?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p><span data-scayt_word="Popaganda" data-scaytid="1">Popaganda</span> subversive surrealist painter <a href="http://www.popaganda.com" target="_blank">Ron English</a> comes clean about his art and career with host Dusty Wright.</p> <p><a href="https://www.youtube.com/channel/UC_GYUTqxEjNxtD8pKeNp4Gg">Subscribe via <span data-scayt_word="Youtube" data-scaytid="2">Youtube</span></a> or <a href="http://feeds.feedburner.com/culturecatch-vidcast">Subscribe</a><a href="http://feeds.feedburner.com/culturecatch-vidcast"> via <span data-scayt_word="Feedburner" data-scaytid="3">Feedburner</span></a> or <a href="http://popaganda.com" target="_blank">Buy Art</a></p> <!--break--></div> <section> </section> Fri, 12 Nov 2010 16:10:22 +0000 Dusty Wright 1592 at http://culturecatch.com Sara Conca - The Dusty Wright Show http://culturecatch.com/vidcast/sara-conca <span>Sara Conca - The Dusty Wright Show</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>August 3, 2010 - 21:41</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/vidcast" hreflang="en">Vidcast</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/202" hreflang="en">Sara Conca</a></div> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> <div class="field--item"><a href="/taxonomy/term/204" hreflang="en">abstract expressionism</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/OOPCYYfr7qk?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>Former model and abstract expressionistic painter <a href="http://www.saraconca.com/" target="_blank">Sara <span data-scayt_word="Conca" data-scaytid="1">Conca</span></a> chats with Dusty Wright about life, art, and the pursuit of the perfect colors.</p> <p><a href="https://www.youtube.com/channel/UC_GYUTqxEjNxtD8pKeNp4Gg">Subscribe via <span data-scayt_word="Youtube" data-scaytid="25">Youtube</span></a> or <a href="http://feeds.feedburner.com/culturecatch-vidcast">Subscribe</a><a href="http://feeds.feedburner.com/culturecatch-vidcast"> via <span data-scayt_word="Feedburner" data-scaytid="2">Feedburner</span></a></p> <!--break--></div> <section> </section> Wed, 04 Aug 2010 01:41:42 +0000 Dusty Wright 1503 at http://culturecatch.com Lori Earley - The Dusty Wright Show http://culturecatch.com/vidcast/lori_earley <span>Lori Earley - The Dusty Wright Show</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>February 25, 2007 - 10:42</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/vidcast" hreflang="en">Vidcast</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/k2LDVFqnunY?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>For painter Lori <span data-scayt_word="Earley" data-scaytid="1">Earley</span> exploring the inner beauty of women remains her constant muse. Rendering slightly exaggerated features and <span data-scayt_word="goth-like" data-scaytid="2">goth-like</span> imagery, her paintings sell out well before her shows open. She shares her art and inspiration with host Dusty Wright at the Opera Gallery in NYC.</p> <p><a href="https://www.youtube.com/channel/UC_GYUTqxEjNxtD8pKeNp4Gg">Subscribe via <span data-scayt_word="Youtube" data-scaytid="2">Youtube</span></a> or <a href="http://feeds.feedburner.com/culturecatch-vidcast">Subscribe</a><a href="http://feeds.feedburner.com/culturecatch-vidcast"> via <span data-scayt_word="Feedburner" data-scaytid="3">Feedburner</span></a></p> <!--break--></div> <section> </section> Sun, 25 Feb 2007 15:42:23 +0000 Dusty Wright 471 at http://culturecatch.com Steve Keene Thaws Frieze! http://culturecatch.com/node/3842 <span>Steve Keene Thaws Frieze!</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>May 5, 2019 - 13:48</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/art" hreflang="en">Art Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="1200" src="/sites/default/files/styles/width_1200/public/2019/2019-05/steve-keene-frieze.jpeg?itok=VtvT54MP" title="steve-keene-frieze.jpeg" typeof="foaf:Image" width="1200" /></article><figcaption>Photo credit: d.Bindi</figcaption></figure><p>The Frieze New York 2019 art fair, which ran through Sunday, May 5th, offered over 190 galleries, hailing from over 25 countries. Impractical, from a casual buyer's stand point, as it can be overwhelming (Stendhal syndrome)<b> </b>but always fun for amazing people watching as New Yorkers love to wear their individualism as proudly as any artist's painting on a gallery wall, and despite what some may think, not at all as stuffy as some art gallery shows can be. I always find at least a dozen new artists that I'd proudly display on my apartment's walls,<em> if</em> I had the dollars <em>and</em> the space to do so. But things were different this year. I could actually afford a piece.</p> <p><a href="https://www.artsy.net/p-p-o-w" target="_blank">P.P.O.W</a>.'s booth presented countless paintings by <a color="black" href="https://www.artsy.net/artist/steve-keene" target="_blank">Steve Keene</a> -- priced between $10, $20 and $50 (depending on the size) -- were the art fair's best deal, even cheaper than some of the food/beverage vendors serving up very edible meals, snacks, and libations. With Keene live-painting like a madman across a giant easel set about 3-4 feet above the art crowd masses, he'd set up about 10-12 plywood boards in front of him and would paint them simultaneously. From simple, colorful images of animals (cats), people (Buchanan above), and many cool album covers by musicians like David Bowie, Depeche Mode, The Clash, Bow Wow Wow, Siouxsie and the Banshees, et al., there was always a crowd ready to jump on one of his pieces as soon as it was finished and hung on the wall opposite of him. There was a "cash-only" wooden box to collect the dollars from willing patrons.</p> <p>Keen's work has a simple, but inviting illustrative quality, like hip DIY gig posters from the punk rock/new wave era, something you might have found taped to a lamppost or hung in a boutique. As I watched the artist in action, a middle-aged woman next to me was debating which "album cover" recreation her son would enjoy most -- The Clash's <em>London Calling</em> or <a href="https://en.wikipedia.org/wiki/The_Last_of_the_Mohicans_(EP)" target="_blank">Bow Wow Wow's <em>Last of the Mohican</em></a> homage to Edouard Manet's <em><a href="http://en.wikipedia.org/wiki/File:%C3%89douard_Manet_-_Le_D%C3%A9jeuner_sur_l%27herbe.jpg" target="_blank">Le déjeuner sur l’herbe</a></em> piece. (I suggested the Bow Wow Wow, given that album's original controversy. Or buy both for only $40.) She only had to wait an hour until the paint had dried and the paintings were "hung" on the wall behind her. I didn't wait for her final selection(s) as I decided to walk the fair and come back later to make my $20 selection. (See above.)</p> <p>What an art collector's metaphor, eh? The low price-point meant that any attendee could walk out of the Frieze with a real piece of art by a real life artist. And what a great story to share, too.</p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3842&amp;2=comment_node_story&amp;3=comment_node_story" token="YkrMWJ6T-KVvZ-56i0vDtWLp3wApXPC1V4gka-rZhvk"></drupal-render-placeholder> </section> Sun, 05 May 2019 17:48:12 +0000 Dusty Wright 3842 at http://culturecatch.com Fire From On High http://culturecatch.com/node/3824 <span>Fire From On High</span> <span><a title="View user profile." href="/user/6559" lang="" about="/user/6559" typeof="schema:Person" property="schema:name" datatype="">Fran Bull</a></span> <span>February 24, 2019 - 12:46</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/art" hreflang="en">Art Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="800" src="/sites/default/files/styles/width_1200/public/2019/2019-05/3._tony_moore_fire_painting_14.11.18_2018_15x22.5x2.5in_wood-fired_ceramic_glass_stone_inclusions.jpeg?itok=5hq_ILdx" title="3._tony_moore_fire_painting_14.11.18_2018_15x22.5x2.5in_wood-fired_ceramic_glass_stone_inclusions.jpeg" typeof="foaf:Image" width="1200" /></article><figcaption>Tony Moore Fire Painting 14.11.18 2018, 15x22.5x2.5in, wood-fired ceramic, glass, stone inclusions.</figcaption></figure><p>Tony Moore: <em>Transit</em>. Sculpture &amp; Fire Painting</p> <p><a href="http://www.thepaintingcenter.org" target="_blank">The Painting Center</a>, NYC</p> <p>January 29<sup>th</sup> – February 23<sup>rd</sup>, 2019</p> <p>We have admired the kiln magic wrought by such modern-day clay artists as Josep Llorens Artigas (note his own austere vessels along with the outsized, craggy pieces made in collaboration with Joan Mirò).  We've loved the brut, wabi-sabi influenced, almost-pots of Peter Voulkos, and the monumental, brightly glazed standing figures of Viola Frey.  Now comes along Tony Moore who joins this rarefied company with an exhibition of splendid, anagama-noborigama fired ceramic works at The Painting Center, New York.</p> <p>With two bodies of work on view, Moore offers the same breadth of imagination and expansive vision that have characterized his art practice over the years.  Decades ago Moore, Yale-trained as a sculptor, shifted away from a period of self-assigned apprenticeship in the process of making vessels of clay.  While his large vases and pots were themselves unique, he returned to his true path of using clay as an expressive fine art medium.  In this current show, we are the benefactors of Moore having married virtuosic craft with an artist’s probing sensibility.</p> <p>Upon entering The Painting Center Gallery, two commanding sculptures mounted upon stands of rusted steel, greet the viewer.  Massive, hermetic, bearers of undeniable visual authority, each possesses an impenetrable density and weight.  Shakespeare best asks the question that arises: <i>what is your substance, whereof are you made?</i> (Sonnet 53)</p> <p>One of the pair, entitled <i>The Injustice of Silence</i>, is a cascading, gyrating tower of dazzling surface complexity.  Moving around its girth, each view reveals a radically altered facet of its overall anatomy, like the proverbial elephant’s, requiring the viewer to remember, in order to construct an image of the whole.</p> <figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="1800" src="/sites/default/files/styles/width_1200/public/2019/2019-05/2a._tony_moore_injustice_of_silence_2017_63x25x25in_wood-fired_ceramic_porcelain_glass_steel.jpeg?itok=JivfJY3L" title="2a._tony_moore_injustice_of_silence_2017_63x25x25in_wood-fired_ceramic_porcelain_glass_steel.jpeg" typeof="foaf:Image" width="1200" /></article><figcaption>Tony Moore, Injustice of Silence 2017, 63x25x25in, wood-fired ceramic, porcelain, glass, steel</figcaption></figure><p>Surface colorations transition from rich yellow-browns and umbers, to charcoal grays and blacks.  We wonder: Has some unseen force been brought to bear upon this mass?  Are we being shown a thing in the process of decay, beautiful in its undoing, redolent of things of the earth, of mud, of blackened soil?  Regarding the ganged and sliding cubic shapes so alien to this otherwise biomorphic body, our thoughts turn to man-made things, to architecture or to children’s toy blocks.  There is something apocalyptic and chaotic -- a colliding of the natural and the constructed.</p> <p>The second work, <i>Voice</i>, began its kiln journey as one solid mass.  It developed a central crack in drying -- a kiln glitch gone right, a beneficial accident.  Its surfaces, gorgeously raked and striated as if Nature were the sculptor, evoke a sense of geological process. Imagine rock formed over eons by earthquakes, by water and extremes of temperature. Peering into the crevasse of this two-fold piece, into the tear itself, we strain to see its full contour, catching but a glimpse of two interior chambers, one on each side.  We wonder what they might hold. A sleeping bear? An entombed Pharaoh?  The bifurcated womb of Mother Earth, herself?</p> <p>The second body of work, Moore's <i>Fire Paintings</i>, sing out from the gallery walls.  These gleaming chunky rectangular clay slabs are hybrid forms.  They have the weight, bulk and dimensionality of sculpture while functioning like painting, as frontally viewed wall-hung works.  In their making, Moore added glass and impressed plant matter into the clay, along with a series of luminous glazes.  Kiln fire and time transform these "burnt offerings," melting, fusing and pooling pigments and melted glass to create beautiful surfaces and imagery that is both abstract and figurative, often at once.  Gaining knowledge of materials and their performance "under fire," Moore's studio experiments evolved to become less random and more directed over time.</p> <p>Many of these <i>Fire Paintings</i> have a grid motif, a web work of geometrically ordered squares tinted a seductive, jewel-like Mediterranean blue.  Moore explains he was inspired to find a way technically to work out the effect of multiple shining windows after seeing sun glinting off the glass of New York City skyscrapers.  This viewer can testify that his search was successful.</p> <p>In the passage quoted below, Moore shares, quite rhapsodically, his reaction to the results of the collaboration between himself and the unseen "fire painter," the <i>god</i> in the kiln:</p> <blockquote> <p>"The figures, made from cut and impressed twigs, perfectly dovetailed into my pre-existent vocabulary.  As I investigated, the figures kept running, fleeing, tumbling, searching, moving away from and towards something else.  They moved across landscapes, towards glowing buildings/edifices, systemized structures/societies, which both beckoned them and somehow dominated them.   The figures were present, yet also in spirit form, floating and dissolving in diaphanous light and shimmering waters.  Twigs became, fathers, mothers and children.  They became surrogates, rather like a small child’s dolls, playing out a deeply psychological fiction of desperately moving toward 'something'.  Something hopeful, yet presently out of reach.  Something eternally becoming..." Tony Moore 2019</p> </blockquote> <p>Moore's art invokes a confrontation with the raw, natural elements themselves. Daringly executed, inventive and unabashedly beautiful, we are taken into ancillary realms.  Art and archaeology align, the fossils of paleontology put in an appearance and twigs become running figures surrounded in light.</p> <p>We may also take a lesson from Moore in these fraught times.  In Tony Moore we find all the qualities expected of extraordinary artists -- talent, technical ability, brilliant innovative ideas and communicative power.  We find in Moore as well, and in his art, an affirmation of fundamental values -- exigency, dedication, integrity, and something perhaps ineffable, the transcendent ability to infuse “soul” into matter, to summon pure beauty in the service of profound truth.</p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3824&amp;2=comment_node_story&amp;3=comment_node_story" token="i57jlR9uHjJWRWns1aEf6TMJrL9u2HNreYIwJbf7qgM"></drupal-render-placeholder> </section> Sun, 24 Feb 2019 17:46:10 +0000 Fran Bull 3824 at http://culturecatch.com Exploring The World of Francine Tint http://culturecatch.com/art/francine-tint-explorations <span>Exploring The World of Francine Tint</span> <span><a title="View user profile." href="/users/maryhrbacek" lang="" about="/users/maryhrbacek" typeof="schema:Person" property="schema:name" datatype="">Mary Hrbacek</a></span> <span>March 13, 2018 - 09:09</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/art" hreflang="en">Art Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div> <figure class="image"><img alt="" height="439" src="/sites/default/files/images/francine-tint-painting1_0.jpg" style="width: 560px; height: 378px;" width="650" /><figcaption>Flight, 2017 acrylic on canvas, 53 x 72 in.</figcaption></figure></div> <div><em>Explorations</em>: Francine Tint</div> <div>Cavalier Gallery, NYC</div> <div>2/28 - 3/24, 2018</div> <p>Cavalier Gallery presents <em>Explorations</em>, a series of large-scale acrylic on canvas paintings by Francine Tint. This exhibition provides an opportunity to take notice and ask, what attributes separate the masterful from the mundane, in a city that has placed gestural abstraction on the international art map. It comes as no surprise that the artists’ temperament plays a crucial role. Francine Tint is an artist who transcends skillful manipulation of materials to disclose the reality beneath the surface of everyday things. She imbues the works with her inner being by painting at the height of her emotions, to create a revealing catalogue of impulses and feelings that connect the canvases to enduring works of authentic artists through time.</p> <!--break--> <p>Tint's character, her power, and ability to transfer various modulated states of being to her art, generate compelling energy via a panoply of techniques that fuse intention with intuition, seizing viewer attention with startling force. What is also surprising is the aura of air and light that radiates forth with luminosity from the unexpected juxtapositions of rich hues that are applied with big brushes, for the most part on large formats.</p> <p>Tint's art combines generosity of scale with a sense of dramatic tension that captivates more than the eye. These immersive works do not leave the observer alone in a comfort zone. They engage the viewer with passion because Tint is not "going through the motions" or biding time. Her art and life are inextricably combined; they are one in the reality they inhabit, as the expression of a dynamic, assertive personality. Tint's paintings are not repetitious; they are not timid, they lead the viewer through the picture format with the vehicle of broad, articulated motions and fine points of brushed on or scraped away departures.</p> <p>The works are inspired by nature’s palette at dusk, by the sky in its limitless variations and eloquent nuances. Mood and ambiance play a narrative role in the depth and poetry of the layered works that succeed in creating a sense of air and space, even volume, through the placement of forms and carefully chosen dominant and recessive color combinations. The pictures are alive with personal unconventional color contrasts, such as gold and lavender, and with the interaction of warm expanding hues of orange, yellow and red , opposed to cool enigmatic shades of signature lavender and black. Tint's primary colors are intersected with startling sweeps of strokes that evoke the effects of cymbals sounding or high winds whistling.</p> <p>The jazz that resounds in Tint's studio comes into her consciousness, exposing her responsive interior life as she finesses tempestuous, optimistic works, portraits of Tint’s response to music and the unobstructed sky vistas that provide daily sustenance for discovery and wonder. A fluctuating, panoramic sky provides inspiration and a sense of exultation that seldom springs from views of man-made structures and buildings. Tint employs various materials, but the use of matte medium may diminish the immediacy of the surfaces. Her broad circular strokes coincide with short horizontal touches that ease the vehemence with counter-movements and alternative directions. Tint's painterly intelligence plays out in the complexities of various shapes and sizes, large and small, thick and thin, in paint that is fat and lean, yielding a measure of illumination for the observant viewer.</p> <p>Tint worked for many years as a costume designer in film and television, with luminaries such as David Bowie and Ridley Scott, to name but a few. Her intense feeling for and use of color indicate she absorbed the "push-pull" legacy of the artist and teacher Hans Hoffman. In some of the smaller pieces, she makes textural surfaces with colorful impasto that form a virtual sculptural relief in a freshly shaped terrain. This untamed eloquence is above all an intuitive process, in every way a challenge to geometric, hard-edged minimal abstraction. The two forms occupy entirely different poles on the spectrum of abstract art as it is practiced today. Every day Tint finds new freedom and vibrancy to express her instincts as a painter making emotionally charged, strongly affecting articulate works.</p> </div> <section> </section> Tue, 13 Mar 2018 13:09:41 +0000 Mary Hrbacek 3681 at http://culturecatch.com Little Q & A: Mary Hrbacek + Bradley Rubenstein http://culturecatch.com/art/little-q-a-mary-hrbacek <span>Little Q &amp; A: Mary Hrbacek + Bradley Rubenstein </span> <span><a title="View user profile." href="/user/529" lang="" about="/user/529" typeof="schema:Person" property="schema:name" datatype="">Bradley Rubenstein</a></span> <span>November 7, 2017 - 04:57</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/art" hreflang="en">Art Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><p><img alt="" height="584" src="/sites/default/files/images/hrbacek_queen-connected_16.jpg" style="width: 560px; height: 584px;" width="560" /></p> <p>Mary Hrbacek is an artist and an art critic (AICA) based in NYC. In 2016 she received the Carole A. Feuerman Sculpture Foundation, ESKFF Foundation, The Helis Foundation, Financial Grant for her art on view at Mana Contemporary. Her drawings in "Whispers" have been included in the collection of The Museum of Contemporary Art of Crete.</p> <p><strong>Bradley Rubenstein: </strong>These are quite lovely; I did see one of your shows a year or two back at CREON, they had a remarkable clarity, and reminded me of Georgia OKeefe's work -- there is a very large O'Keefe in the Art Institute of Chicago, a sky, with strange biomorphic clouds. It is a strange painting, and growing up in Chicago, held my attention for years. I don’t want to get to far ahead of myself here, so let’s start with a little background…</p> <!--break--> <p><strong>Mary Hrbacek:</strong> My appreciation of the environment began while I was living for five years as a girl near Stockholm, Sweden, in a Scandinavian culture that venerates the natural world. When we returned to the States my dad purchased a rundown house in northern Vermont near Canada, to be our family’s "stuga," a getaway refuge where all Swedes retreat from the city during the summer. First I became fascinated by the peeling bark of the many birch trees on the property, then I noticed the life force that emanates from the human-like "eyes" and gestures of the waving branches. Later when I traveled with my husband we discovered 400-year-old sycamore trees in Viareggio, Italy with distinctly human characteristics and gestures. I became inspired by the mythology of Virgil's "Metamorphoses," with its tales of morphing human and natural forms.</p> <p><strong>BR: </strong>I like what you described about your working process. You create the charcoal that you use to make the drawings… it is an actual tree drawing a tree. It reminds me of Susan Rothenberg's early horse paintings: she used glue paint, a horsehair brush, and traced shadows of horses…all those horses but no horse… just an image of a horse. There was a bit of Jasper Johns in that thinking. Is that similar to how you see what you are doing? The process being a part of the picture?</p> <p><strong>MH:</strong> I actually buy commercial charcoal, but it does derive from tree bark, which makes the charcoal drawing of a tree, a "’tree’ made from a tree." The process is certainly a part of the final picture, as it plays a prime role in the deep dark "feeling" and textural surface that I create with layers of charcoal, which I later extract with a cloth to slightly vary the surface. I use line to carve in to hone the forms exactly.</p> <p><strong>BR:</strong> The paintings feel different to me, I mean, they are similar as images, but I see more action going on in them. You are catching the trees morphing into something else. Rudolph Arnheim talks about the difference between "seeing into" and "seeing as." You seem to be doing two things at the same time, choosing the tree because it suggests something, "seeing into", then transcribing it, just painting the part of the tree that you want in this new form "seeing as". Or Leonardo looking at clouds and discovering "characters" in them.</p> <p><strong>MH:</strong> I find your analysis very succinct. I think what you say about the artist putting things into a work that others may not see or appreciate, such as references, metaphors and symbols, is a result of the artist’s emphasis or vision. My vision is not very realistic; it is intuitive. I also have a problem with visual reception that affects my ability to see and to read, which may distort how I perceive my motifs. The thing is, one person may not get them all, but just about all of them, even the ones I don't intend, are noticed by someone. That's why two people seeing the same piece see something different. Much of what is perceived in a work is what the viewers bring, that sometimes supersedes what the artist envisions. It is a mix of one’s own likes, dislikes, prejudices, hopes, and fears, which we see in external objects. What is actually there is a different question altogether, and is conceivably never wholly grasped.</p> <p><img alt="" height="649" src="/sites/default/files/images/hrbacek_harlem-mother-and-child_2010.jpg" style="width: 560px; height: 649px;" width="560" /></p> <p>This is why, in my opinion, conceptual art, a genre which relies extensively on written forms and narratives to explain the art works and their intensions, tends to close down viewer experience before it even has a chance to start. (Perhaps this statement is controversial?)</p> <p><strong>BR:</strong> Why do think they work and how do you see the viewer sees them?</p> <p><strong>MH:</strong> It is possible that viewers find the ambiguity in my art challenging; there are unexpected yet discernible bodily references in most of my work. The piece called "Facing Front IV" is taken from a tree by Central Park South, which has a warm brownish gray "top" and a cool grayish brown base. "Warm" and "cool" are technical terms used in painting that create contrast and liveliness to a palette or color scheme. I wanted the tree to have a human aspect, so I switched the "warm" brown top zone for pink, the "cool" gray brown base for dull blue. I don’t want to get too technical, but I took certain liberties with the colors to create a dramatic effect of shimmering colorful transformation. In the piece "Tree Woman," the figure is clearly discernible, as seen in the original motif, which is a digital photograph of a tree near Central Park West that has a clear female form inscribed in relief in its trunk. I hopped over two fences to get the shot. I use a flat graphic color space to divorce the motif from naturalistic references, highlighting it to accentuate an iconic quality in the isolated image. It occurs to me that the use of a flat ground connects my organic biomorphic forms with hard edge abstraction to create a hybrid genre.</p> <p><strong>BR:</strong> We are at a moment where the line between organic and synthetic is rapidly blurring. Your tree figures morph, they are organic, they are becoming something new. How much of your interest in them is related to the science of it… they are, in a way new forms.</p> <p><strong>MH:</strong> I think the fact that my hybrids tree-figures are new forms makes them noteworthy. I am not at all interested in the science of my vision and process. I just do it. Science is a field that I greatly respect but I have never had much affinity for. I am interested in the manifestations of poetry in the human bits and full figures that I am able to apprehend when I focus on a motif.</p> <p><strong>BR:</strong> There are a lot of artists I can think of that are working in this way, Anna Ehrsam and her light experiment photos for example, Pedro Barcieto creating these geometric abstractions that meld machines and organic passages… What are you looking at? What is influencing you that is out there now?</p> <p><strong>MH:</strong> I have always had an affinity for abstraction, although it isn’t my gift. My work is poised on the cusp between abstraction and representation, not realistic at that. I admire Giuseppe Penone’s large-scale tree sculptures and I am drawn to the works of Leonardo Drew, whose massive black sculptural relief works and installations connect with my interests in dark forms and natural materials. I very much appreciate the wooden sculptures and constructions of Ursula von Ridingsvard. Adrian Ghenie morphs abstraction and realism in enormous wall sized painted tableaux (Pace Gallery 2017). I don't look much at anyone; I find my own way through an image to its final resolution in my work.</p> <p>I am crazy about the Old Masters; Rubens, Titian’s mythological themes, J.M.W. Turner, Claude Lorrain, Nicholas Poussin, Gainsborough, and of course Cezanne, Picasso and van Gogh.</p> <p><img alt="" height="493" src="/sites/default/files/images/hrbacek_use-refuse.jpg" style="width: 560px; height: 493px;" width="560" /></p> <p><strong>BR:</strong> Your sculptures caught my eye immediately -- I see those and think what a great piece of set dressing for a Beckett play…</p> <p><strong>MH:</strong> Thank you for noticing my sculptures. I confess I know little about Beckett, but I will do some research. People say that my paintings are sculptural and my sculptures are painterly; this is my contrarian nature at play. I made about twenty-five pieces, but I had to stop as I lost my studio space due to contamination on my hallway. My current space is ten feet smaller, but I kept three sculptures to show visitors. When I was doing them, very few people said much about them. Now that I cannot make them anymore, people have begun to notice them. One day perhaps I will do some in my Vermont studio. I loved sculpting and drawing with metal. I painted them gold to signify the value of the found and discarded used objects that I combined with natural materials like sticks and pine cones, which I found in the Sequoia National Park in California.</p> <p><strong>BR:</strong> What are you working on next and when will we see it?</p> <p><strong>MH:</strong> I am going back to Scandinavia this month so I will be photographing northern and Icelandic trees. I have some shots of trees growing out of restaurants and cafes in Greece, so I may explore images of obstructed bio-forms intersected by geometric architectural elements. Not sure. I did some strong charcoal drawings of these motifs last summer. I have to intuit what I want next, so I cannot be sure until I am ready to know what to do.</p> <p><strong>BR:</strong> Anything else?</p> <p><strong>MH:</strong> I started a painting of a tree located in Collioure, France that I want to develop. I call it "Pharaoh and the Woman" but of course it is a tree with a projecting figure-like form jutting forth from its side. The forms are deep black with burnt sienna highlights. I also want to paint some more bonsai tree images. That is all I can think of for the moment.</p> </div> <section> </section> Tue, 07 Nov 2017 09:57:51 +0000 Bradley Rubenstein 3577 at http://culturecatch.com Mark Wiener - The Dusty Wright Show http://culturecatch.com/vidcast/mark-wiener <span>Mark Wiener - The Dusty Wright Show</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>October 1, 2012 - 08:07</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/vidcast" hreflang="en">Vidcast</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/281" hreflang="en">art</a></div> <div class="field--item"><a href="/taxonomy/term/246" hreflang="en">video podcast</a></div> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/bySyNTH1UfU?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>NYC-based artist Mark Wiener (R.I.P.) shares stories about his work and the mean streets of the Big Apple. This interview was recorded at his studio at Emergency Arts in Chelsea a few months before his untimely passing.</p> <p><a href="https://www.youtube.com/channel/UC_GYUTqxEjNxtD8pKeNp4Gg">Subscribe via <span data-scayt_word="Youtube" data-scaytid="1">Youtube</span></a> or <a href="http://feeds.feedburner.com/culturecatch-vidcast">Subscribe</a><a href="http://feeds.feedburner.com/culturecatch-vidcast"> via <span data-scayt_word="Feedburner" data-scaytid="2">Feedburner</span></a></p> <!--break--></div> <section> </section> Mon, 01 Oct 2012 12:07:26 +0000 Dusty Wright 2579 at http://culturecatch.com Michael Zansky - The Dusty Wright Show http://culturecatch.com/vidcast/michael-zansky <span>Michael Zansky - The Dusty Wright Show</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>June 22, 2011 - 15:12</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/vidcast" hreflang="en">Vidcast</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/500" hreflang="en">celebrity interview</a></div> <div class="field--item"><a href="/taxonomy/term/359" hreflang="en">artist</a></div> <div class="field--item"><a href="/taxonomy/term/203" hreflang="en">painter</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/n4rpxF1tIJE?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>Brilliant NYC-based abstract/surrealist painter <a href="http://michaelzanskypaintings.com/‎" target="_blank">Michael <span data-scayt_word="Zansky" data-scaytid="1">Zansky</span></a> shares his art tales with host Dusty Wright.</p> <p><a href="https://www.youtube.com/channel/UC_GYUTqxEjNxtD8pKeNp4Gg">Subscribe via <span data-scayt_word="Youtube" data-scaytid="2">Youtube</span></a> or <a href="http://feeds.feedburner.com/culturecatch-vidcast">Subscribe</a><a href="http://feeds.feedburner.com/culturecatch-vidcast"> via <span data-scayt_word="Feedburner" data-scaytid="3">Feedburner</span></a></p> <!--break--></div> <section> </section> Wed, 22 Jun 2011 19:12:20 +0000 Dusty Wright 2072 at http://culturecatch.com