John Bradford at Anna Zorina Gallery in New York City,Rachel Doniger
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John Bradford at Anna Zorina Gallery in New York City “Hamilton, History, Lincoln and Paint”, is John Bradford’s first solo exhibition at the Anna Zorina Gallery. The show features the artist’s latest paintings that offer his contemporary take on historical subjects. ABOUT THE EXHIBITION John Bradford: “I am employing violent scraping, palette knifing, dabbing, dripping, reducing, tearing apart, cutting through, and building up so the paint overwhelms with something very specific, yet distantly remembered from somewhere else. This process of abstracting and excavating these oft–told American histories simultaneously asserts my formal, absolute control of the surface while allowing me to retreat from the field”. John Bradford “Constitutional Convention” 60×78 acrylic and oil on canvas, 2018 This unbridled exploration can be seen in Publication of the Declaration and Abraham Speaking to the People at Gettysburg with their highly original use of Jean Paul Riopelle-like textured fields of paint deftly applied in a specific narrative context as means of capturing the deeply complex, often conflicting interactions in the psychology of a crowd. The sheer plasticity and expressionist aggression of Bradford’s negative spaces create “significant narrative gestures” throughout the pictorial surface to celebrate something entirely new: field painting of history. John-Bradford “Lincoln Addressing the People at Gettysburg” 48×60 acrylic and oil on canvas, 2017 The repertoire of techniques employed in these various historical paintings encompasses virtually the entire modernist lexicon and testifies to a painting life of unrelenting experimentation and invention. The magic is that a wide range of subjects, treated in surprisingly different ways, is so clearly the vision of a singular sensibility still committed to finding relevancy in our so tenuously shared national narrative. John Bradford “Lincoln Writing the Emancipation Proclamation” 48×60 acrylic and oil on canvas, 2017 ABOUT THE ARTIST JOHN BRADFORD (b. 1949, Wilmington, Delaware) received his BFA from Cooper Union in 1971 and MFA from Yale University School of Art in 1979. He is the 2011 recipient of prestigious American Academy of Arts and Letters Award for Painting. John Bradford’s work has been reviewed in the New York Times, ArtNews, Village Voice, the Jewish Press and Hudson Review. John Bradford “Hamilton, History, Lincoln and Paint” March 29 – May 5, 2018 Anna Zorina Gallery New York City, NY FRAMING SPECIFICATIONS John Bradford “Publication of the Declaration” 48×60 acrylic and oil on canvas, 2017 Unfinished maple floating frames METRO FLOATING FRAME Profile: 120, 124, 121 Type: Floating frame Wood & Finish: Unfinished maple Purchase Option: Unjoined wood frame cut to size with wedges Framing Advice: joining frames Framing Advice: fitting floater frames Rachel Doniger – Cut Paper Reliefs Rachel Doniger’s paper reliefs investigate the graphic potential of paper. A simple process of cutting and folding thousands of similar shapes yields a field defined by moments of intensity and calm. As the viewer’s glance moves from one shape to the next, they see not only a crescendo from low to high, but also the relationship between the two. Space, as perceived by the viewer, becomes an inseparable part of the image. In this way, the classic opposing relationship of figure and ground (or field) is turned on its head. If we think of figure not as an object read against a field, but as an effect emerging from the field, then we can understand figure and field to be closely aligned. Rachel Doniger, a former architect, has been exhibiting her paper reliefs since 2014. Notable exhibition venues include the Arvada Center for the Arts, Blue Print Store, Redline Gallery and Ice Cube Gallery. Her work resides in the collection of the Chicago Ritz Carlton and in private collections across the United States. Rachel lives in Denver, Colorado with her husband and two children. She spends much of her time outdoors observing the natural landscapes that inform her work. Rachel Doniger (American, b. 1979). Infinity I-VI, 2016. Cut Paper Reliefs. Private Collection, Dallas, Texas. © Rachel Doniger Rachel Doniger (American, b. 1979). Untitled I-VI, 2017. Cut Paper Reliefs. Ritz Carlton Chicago Collection. © Rachel Doniger ABOUT THE EXHIBITION Paper.Works which includes the works of twenty artists who use paper as their artistic medium. From cast paper to cut paper, folded paper to handmade paper. The Paper.Works exhibit is on view at the Arvada Center for Arts and Humanities. Since its opening in 1976, the award winning Arvada Center for the Arts and Humanities has grown to become one of the nation’s largest multidisciplinary arts centers. PAPER.WORKS June 1 – August 20, 2017 Arvada Center for the Arts & Humanities Arvada, Colorado FRAMING SPECIFICATIONS AND ADVICE METRO GALLERY FRAME Thin Profile: 102 Type: Floating Gallery Frame Wood & Finish: walnut frame with clear lacquer finish Custom Wood Spacer: 1/2″ wood frame spacer Custom Wood Strainer: 1/2″wood frame strainer Purchasing Option: joined wood frame Framing Advice: fitting gallery frames Kenneth Josephson at Stephen Daiter Gallery in Chicago Kenneth Josephson has been a tireless pioneer of conceptual art photography since the late 1950s. He is the product of a rigorous education that began with the inspiration of the visionary Minor White at the Rochester Institute of Technology and culminating with his graduate studies under the renown teaching team of Harry Callahan and Aaron Siskind at the fabled Institute of Design, Chicago. At a time when photography was just beginning to be considered seriously by the art world and the art market, Josephson was working ahead of the curve, busy laying the groundwork for conceptual approaches to the medium that would later subvert many long held notions about the place and purpose of pictorial representation. Josephson’s early visual experiments ran the gamut of imaginative approaches and were rooted in the highest technical standards of his craft. Before others he employed the conceits of images within images and posed questions such as what is the importance and reality of the photograph itself as a physical object. In addition, Kenneth Josephson imbued his work with a signature sensibility of humor – an application that came naturally and added dimension to the artist’s highly intentioned works. There is no mistaking Kenneth Josephson artworks for those by his other conceptually driven peers and contemporaries, such as Edward Ruscha, John Baldessari and Robert Heinecken, who were content to use photographic material, often incorporated with other media, for the production of their final works. But this appropriation of imagery was peripheral to the notion of the pure photographic process – it was Josephson’s obsession with the inherent and endless possibilities within the medium that makes him unique among them, and positions him as a master. Kenneth Josephson Colorado 1959 | Gelatin silver print | 6 x 9 in. 1959 print. Signed, dated and annotated ´59-2-9-7´ in pencil by artist on print verso Kenneth Josephson Wisconsin 1965 | Gelatin silver print | 4.69 x 6.63 in. C. 1965 print. Signed, titled, dated and annotated ’65-5-1-2′ in pencil by artist on print verso. Kenneth Josephson Chicago 1962 | Gelatin silver print | 4.25 x 9.06 in. c. 1962 print. Signed, titled, dated and annotated ’62-2-1-11′ in pencil by artist on print verso. Been There. Done That. September 6 – November 30, 2013 Stephen Daiter Gallery Chicago, IL FRAMING SPECIFICATIONS AND ADVICE METRO GALLERY FRAME Standard Profile: 106 Type: Standard Gallery Frames Wood & Finish: walnut wood frame with ebony finish Purchasing Options: joined wood frames Framing Advice: fitting gallery frames COLLATERAL DAMAGE: The Human Face of War Since its inception photography has played an important role in documenting the effects of war. This exhibit features four very brave photographers who show us some of the unintended consequences of war. COLLATERAL DAMAGE: The Human Face of War opens at the Stephen Daiter Gallery Friday September 7th. The exhibit will be on view thru December 1, 2012. A reception for the artists will be held at the gallery on Sunday September 23 from 10 am to 1 pm. the reception is on the one year anniversary weekend of the repeal of “Don’t Ask/Don’t Tell.” Some proceeds from the sales of prints in the exhibition will benefit post-traumatic stress support groups such as Wounded Warriors. In the case of sales of prints from the Gays in the Military series, funds will be sent to the Service members Legal Defense Network, an organization that advocates for LGBT personnel. The following tells more about the photographers featured in the exhibit. Samantha Appleton examines the maleness of the atmosphere of war. She photographed men and boys, soldiers and civilians, as they move through the fog of war. Samantha Appleton is a photographer concentrating on historic trends. She began her career as a writer and became a photographer after assisting James Nachtwey. Her work strives to show that quiet, subtle moments make up the complicated components of large news stories. The bulk of her career has covered many of the most tumultuous, man-made events of the past decade. Primary stories have included conflict in Iraq, Afghanistan and Lebanon, social issues in Africa, and immigration in the US. She has won numerous awards including Pictures of the Year, World Press Master Class, American Photography and Camera Arts. She was most recently an Official White House Photographer for the Obama administration. In addition to her photography, she is currently writing a non-fiction book project on Iraq. Vincent Cianni shares works from his ongoing project, “Gays in the Military: How America Thanked Me”. This oral history and photographic project documents gay and lesbian service members and veterans from World War II to the present and is based on their experiences in the military and the effects that the ban on homosexuality had on their careers and lives.