We are thrilled to open our Spring season with new works by Sharon Brant and Guy Corriero, “Outside of Time and Change”.
For more than five decades, Sharon Brant has produced conceptually and aesthetically rigorous hard-edged paintings and works on paper. Her work is relentlessly spare, yet materially abundant, often consisting of no more than one or two fundamental shapes articulated in unexpected ways. Complementing her studio work, Brant has also practiced meditation since the late 1980s, which has had an immeasurable impact on the approach she takes in her studio and the work she ultimately produces.
In Outside of Time and Change, Brant refines and advances the strategies that have informed her work for decades. Her new paintings present few visual elements – two stacked, horizontal rectangles of differing heights and colors that are centered and aligned at the very top edge of a horizontal, panoramic canvas. The remaining areas of the paintings are left as exposed, woven linen. Brant’s new paintings elicit a sublime sense of emptiness, yet radiate with an ineffable presence and energy. Rendered in mostly subdued, unsaturated colors, such as white, pink, yellow, gray, and silver, her paintings present a striking visual clarity intended to center the mind and achieve emotional tranquility in the viewer.
About her ongoing studio practice, Brant states, “I want to mystify myself. I want to look at my own drawing or painting and say – what is that? – and feel mystified by it. I ask myself as I paint – what is a painting? Optically and psychologically it evokes a feeling as I view it. There may appear an implied illusionism of space, but it is the emotional space I want to enter, a pause from the world.” Regarding her new paintings included in this exhibition, Brant continues, “It’s a picture of the space that artists go to when creating their work. It’s a picture of the source.”
Guy Corriero’s new sculptures “Mostly I like working mucky, lumpy left-over clay with my hands…..squeezing and wrestling vessel/body forms into shape. Larger body/head forms sometimes grow handles or arms reaching up and over. It’s important that the pieces feel handmade, kind of thrown together. I like heavy, drippy glazes mostly blues and whites that don’t get in the way of the form”.
For further information about Sharon Brant and Guy Corriero, and available artworks, please contact the gallery.
917-270-2480 / 646-321-3419
The Gilded Owl turns three years old today and we celebrate our anniversary with the opening of Richard Saja’s exhibition “Tribes”.
My enduring love and fascination for textiles derives from the absolutely unlimited interplay of pattern, color and texture- there is no other medium where this trinity is so fully realized. I came up with the embellished toile concept while waking from sleep years ago. The original idea was to embroider Maori facial tattoos onto figures in the print but I soon discovered there were no toile prints available where that concept could be realized because of the relatively small scale of nearly all toile. I thus amended the concept slightly to include any and all embellishment. Historically, toile de Jouy is a print that through its dense repetition becomes anonymous. It’s a tabula rasa begging for context not unlike a child’s coloring book. The act of selectively embellishing small areas of it automatically inverts its historical usage: suddenly the anonymity of the print is broken and it evolves through its subversion which appeals greatly to me. With an economy of means, a whole new context is created. There is another, more subversive story there, it just needs to be drawn out by the needle.
Richard Saja is an artist making work in Catskill, New York. After first attending the University of the Arts in Philadelphia to study surface design, he devoted his studies to the great books of Western Civilization at St Johns College in Santa Fe, NM and received a BA as a math and philosophy major. After a brief stint working as an art director on Madison Ave., all his interests coalesced and a small design firm, Historically Inaccurate Decorative Arts, was born in the early aughts.
Though he occasionally feels the need to explore avenues of expression beyond that of the needle, the majority of Saja’s work focuses on creating “interferences” of the formal patterns of French toile through embroidery.
He has exhibited internationally with shows in New York, Paris and Berlin and the National Museum of Embroidery in South Korea. Most recently, his work has been exhibited at the Museum of Fine Arts Boston and the Toile de Jouy Museum in Josas, France and has collaborated with Opening Ceremony, Mother of Pearl and Max Mara. His embroidered toile is in the permanent collections of the Shelburne Museum and Philadelphia Museum of Art.
Richard Saja “Tribes” is on view until January 5th at 105 Warren Street Hudson, NY.
We opened our current show Paul Jacobsen “In Through the Outside” and Berlin Deko, a collection of furniture, lighting and objects by German architects from 1910 to 1930 this week with a stellar turnout and the installation will be on view through November 18th in our 105 Warren Street gallery.
All of the works ( 5 oils and 2 large scale charcoals ) evoke a sense of the life Paul has made here in the Hudson Valley. Initially, the drawings appear to be straight forward renditions of the wild weeds that envelope the artist’s studio and the acreage surrounding his home. But on closer observation, we notice that Jacobsen has imbued a gorgeous elegance and given a quiet stillness to the lucky ones chosen as subjects. By separating these particular specimens from the rest of the knotted weed sprawl which has a grand presence on Paul and Laura’s land, we are given the opportunity to stop, be still and notice every detail that the Milkweed, Nettles and Sumac have to offer. Strength and delicacy coexist within the drawings reminding the observer of the many mysteries, struggles and unexpected wonders that the land in Germantown constantly reveals.
Each of the 5 oils produced specially for this exhibition tells a different story and reflect the ongoing ideas and observations Jacobsen has grappled with while living on the land and incorporating into his work. UNTITLED LANDSCAPE, 2017 and UNTITLED CRYSTAL, 2017 are perhaps most closely associated with the charcoal drawings because of the predominate use of black and white but whereas the artist gives an expansive amount of freedom to the wandering weeds, Jacobsen cleverly traps the viewer into his exact perspective and mathematically precise observations of the land, it’s distance from us and, at the same moment, by adding elements of the real world ( dangling crystals, portraits, flags, everyday kitchen items and tools ) the artist reminds us that the land actually supports our physical existence. All of this beauty is seen through the pin point precision of a lens and is encapsulated within the artist’s hand painted frames.
William Morris and Herman Melville serve as intriguing subject matter for Jacobsen. Both of these iconic figures represent the artist’s continued fascination with historic men and their relationships with their respective crafts. Morris was and English textile designer, artist and writer and is most closely associated with the English Arts and Crafts Movement. A close friend of Morris and his wife, Jane Burden, Phillip Webb the architect designed, for the couple, a house in the rural countryside which Morris wanted to be “Modern” but would portray a spirit of the Medieval which is exactly what Webb delivered. Their new habitat was named Red House and Morris spent 2 years decorating the place with the help of artist friends. The rug which Paul Jacobsen designed and was crafted by Equator Production is, in a sense, an homage to William Morris and to his illustrious patterns which were most popular in the wallpapers and textiles he continued to design throughout Morris’s life. The small portrait UNTITLED, WILLIAM MORRIS is an example of Jacobsen’s painterly use of bright colors and juxtapositioning of the figure seen up close, dangling from a thread and push pin and the lush landscape which supports the figure and creates a tension between the foreground and background. Illusion is hard at work here as is the precise technique the artist is so adept at which ultimately pulls the viewer in.
Jacobsen’s UNTITLED (PORTRAIT OF HERMAN MELVILLE) is directly related to chapter 42, the Whiteness of the Whale where Melville describes the voids and curiosities of the universe through the metaphor of the White Whale. In essence whiteness is not so much a color but the visible absence of color. In the artist’s portrait of Melville, Jacobsen incorporates symbols, American Flags, an architect’s compass, a golden crystal which upon close study reveals a small but pure white triangle, all of this painted against a vast, horizontal ocean which harbors the White Whale and provided a way for Melville to set sail on his 3 year journey at sea. The artist, Jacobsen, has intentionally left images of the whale out of the painting and focuses on the author himself, his symbols and the white triangle containing all of the colors of the universe resting a top the crystal . This is an important portrait in context of the exhibition since Melville was a visitor to Hudson and in Moby Dick he uses imagery of the whale to describe man’s relationship to nature in terms drawn from 18th Century Aesthetic Philosophy which Jacobsen also beautifully threads throughout his work.
UNTITLED ( COOPERS HAWK ) is perhaps the most direct portrait in the exhibition, a life study of the bird Jacobsen found on his land in Germantown, it’s twisted body still warm from the fall that took place after he flew into a pane of glass and died. Feathers, greenish talons, a tiny black beak and a regal display of soft , gently patterned black and white feathers all became the perfect subject matter for the artist. After taking the hawk to his studio, Jacobsen rearranged it’s body delicately and then respectfully placed it into a wooden box, photographed the body before any signs of rigamortis set in, preserving the beauty and dignity of death. The portrait is gorgeous, reminiscent of and Old Master work painted with the hand of brilliance.
The Gilded Owl and Lampedo Gallery presents an exhibition devoted exclusively to furniture designed by Berlin architects between 1910 and 1930. The six-week show, “Berlin Deko – German furniture 1910 – 1930″ is a comprehensive survey of German design to look beyond the Bauhaus movement. It aims to highlight the long-overlooked significance and legacy of Berlin as an important European center of architecture and design. Among the protagonists are Leo Nachtlicht, Bruno Paul, Eduard Pfeiffer and Lajos Kozma.
Because Berlin has attracted artists from abroad for centuries, the city has also been a crossroads for a variety of approaches to art and design that originated in near and far corners of the world. These distinct influences and their many hybrids will unfold throughout the exhibition. The objects shown will span a vast arc from futurism to expressionism, from the avant-garde to the traditional, with an underlying current of the exotic and the baroque, which is typical of the period.
Over the past twenty years German interior design from this period has often been reexamined and found its way into private and public collections such as those of the Kunstgewerbemuseum Berlin, the Wolfsonian in Miami, or the Metropolitan Museum of Art in New York. To capture the truest essence of Berlin in the Deco Years, Lampedo invited Arne Sildatke to write an essay for the show. Mr. Sildatke, who wrote his doctorate paper on Art Deco Interiors in Weimar Germany, is a key expert who reevaluated German design of that era and gave it a new position in the history of art.
Established in 2004 in Berlin, Lampedo Gallery is focused on European continental furniture. In 2009 it relocated to New York. Owner Markus Winter has introduced furniture by architects such as Karl Friedrich Schinkel, Ludwig Mies van der Rohe, Bruno Paul or Gio Ponti into both public and private collections. In 2004 he curated, along with Brian Kish, the first exhibition in America on Guglielmo Ulrich and in 2008 he organized the first exhibition on Luisa and Ico Parisi in Germany.
Paul Jacobsen “In Through the Outside” and Berlin Deko will be on view at 105 Warren Street through November 18th.
The Gilded Owl is pleased to announce There Will Be…Without You, an exhibition of photographs by Klemens Gasser. In his eighth solo show, Gasser presents not only an ornithological study in photography, but establishes, delicately, an existential examination of acts and awareness. Working in tandem, the two seemingly opposing tenets meld with one another as their simultaneous simplicity and complexity beam in Gasser’s offering of six monumental bird portraits.
There Will Be Common Grackles Without You 11:43 AM, 2013 c-print on Fujiflex edition of 5 (+1AP) 48 x 72 inches
Taken with a handheld camera, forgoing the standard long-lens, high definition, hyper-saturated stereotype of standard nature photography, these portraits further pronounce the swift and often fleeting nature of the human state through the image of the bird. Frequently, the viewer finds themselves in a parallel gaze with the birds, as Gasser demonstrates the stark solitude of an animal innate to abiding by group nature.
As artist, as subject, as spectator, Gasser raises a question that transcends the ability to answer but one bit: which observes first- the subject or the artist? While that prominent unknown lingers, the viewer can only discern their place as the final observer, mimicking the intrinsic, ontological symmetries between Klemens Gasser’s work and the birds captured by his lens.
There Will Be…Without You opened Saturday, June 17th, 2017 at The Gilded Owl, located at 105 Warren Street in Hudson, New York and will be on display until August 20th.
There Will Be Franklin’s Gulls Without You 6:22 PM, 2015 c-print of Fujiflex edition of 5 (+1AP) 48 x 72 inches
For further information:
Andy Goldsborough email@example.com
Elizabeth Moore firstname.lastname@example.org
All 27 images available can be viewed below
The Gilded Owl is pleased to announce it’s latest exhibition “THE ANATOMY OF A ROOM” in Hudson, NY.
This group show features works by master craftsmen Peter Superti, Ron Arad, Vico Magistretti, and Frederick McSwain and Brad Ascalon. The main gallery will feature a collection of pairs of chairs from 1920-1980 as well as artwork by Karl Klingbiel and Margaret Evangeline. In the other ancillary spaces table top pieces by Tommi Parzinger, Steven Holl, and Michael Graves are shown with Syliva Jaffe and Cole Italia and works by photographer Mick Rock and artwork by Sharon Brant.
And we are thrilled to present new work by jewelry designer and sculptor Jessica Carroll.
Opening November 5th from 6:00 to 8:00 pm.
The Gilded Owl is pleased to present it’s fifth exhibition titled FRAGMENTS; paintings on panel by the artist, George Hofmann. On view in the galleries are 3 bodies of work dating from 2011 & 2012, each of which refer to their respective titles including Duccio, Breviary & Hours. Following are selected works and insight from Hofmann.
THE MYSTERY OF BEAUTY “IL MISTERO DELLA BELLEZZA / WORKS BY INDIA EVANS & ROOMS INSPIRED BY CARLO MOLLINO
On February 27th THE GILDED OWL opened it’s fourth show The Mystery of Beauty “Il Mistero della Bellezza” in Hudson, New York.
On Saturday November 22nd THE GILDED OWL gallery officially opened at 105 Warren Street in Hudson, NY. After exactly one year of renovation and construction Elizabeth Moore and I welcomed over one hundred and eighty five guests to celebrate our inaugural show in the 1785 Federal style house that is a now home to a realized version of our design, art, fashion and music journal. The brilliant Hudson based photographer Tomm Roesch documented our preparations and was on hand with us to capture the opening with his thoughtful eye. Thank you to all who made the journey to our beautiful new gallery and here’s a glimpse into THE GILDED OWL.
We are excited to announce that after one year of construction THE GILDED OWL will open it’s doors in Hudson, New York as a gallery of design, fine art, objects, fashion and music. As we countdown to our opening we will begin to preview some of the designers and artists work as well as interior images of the landmarked 1785 house that will soon become our new home.
I first discovered Fromental in 2006 when I was working on a house in Alabama and wanted something special and unusual for a powder room. We were looking at different plaster finishes and hand troweled surfaces but once we saw the intricately embroidered wallpaper called Peace Blossom from Fromental we were sold.
On Thursday, March 7th Bernd Goeckler will host a book signing of the fantastic new publication Fontana Arte by Franco Deboni. The results of a lifetime of collecting lighting, furniture and objects from the famed glass company and three years of writing and assembling these incredible works, Deboni’s book is truly something extraordinary and the most complete document on the companies history and it’s three primary directors.
Currently on view at the Metropolitan Museum of Art in New York is Kohei Nawa’s PixCell-Deer #24. As part of the “Designing Nature, the Rinpa Aesthetic in Japanese Art” exhibit this work can be seen through January 13.