John Bradford at Anna Zorina Gallery in 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 , 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 .

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 at the Rochester Institute of Technology and culminating with his graduate studies under the renown teaching team of Harry Callahan and 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

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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 , 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. Cianni is an award-winning documentary photographer and educator whose work explores community and memory, the human condition, and the use of image, word and text. His photo essay, We Skate Hardcore, (published by NYU Press and the Center for Documentary Studies 2004) was awarded the American Association of University Presses’ Best Book Design. His photographs have been shown in numerous exhibitions nationally and internationally and a major survey of his work was exhibited at the Museum of the City of New York in 2006. With some eighty portraits and profiles already recorded the body of work presents a powerful indictment of entrenched military policies and protocols over the last half century.

Ashley Gilbertson goes to the heart of the matter with a quiet homage to the soldiers who will never come home in his “Bedrooms of the Fallen”. This haunting project, begun in 2007, speaks volumes in its silent observations of the upended symbols of safety, privacy and comfort – bedrooms furnished as if the young people had just stepped away, and tended to like precious grave sites by bereaved parents. “Bedrooms of the Fallen” debuted in the New York Times Magazine and went on to win the National Magazine Award for Documentary Photography. Gilbertson, who won the prestigious , was a freelancer in his twenties from when he first began going to Iraq, mostly for the New York Times. Four years of his experiences have been recorded in WHISKEY TANGO FOXTROT (The University of Chicago 2007). Gilbertson is represented by VII agency and has recently been examining veterans’ issues including Post Traumatic Stress and suicide for Time Magazine, the Virginia Quarterly Review, and the Times.

Stephanie Sinclair creates compassionate art reportage out of almost indescribable pain. Her photographs in this exhibition center on the suffering of the women of Afghanistan. Her subjects have been the victims of such pernicious and continual violence at the hands of men that they have taken to acts of self-immolation. Sinclair gained the trust of these women, in treatment for the self-inflicted burns at a rudimentary public hospital in the town of Herat in western Afghanistan. By consenting to be photographed at their most vulnerable, these women exhibit a rare bravery – a protest against the forces that brought them to commit such acts of utter desperation. Prints from this series were exhibited at the Whitney’s 2010 Biennial as “Self-immolation in Afghanistan: A Cry for Help”. A second project exhibited “Never Ending War” documents her experience in Iraq. Sinclair, who covered the start of the war in Iraq for the Chicago Tribune, is a photojournalist known for gaining unique access to the most sensitive gender and civil rights issues around the world. She covered troubled regions in the Middle East for six years as a freelancer and is now represented by VII photo agency. She contributes regularly to National Geographic, the New York Times Magazine, Time, Newsweek, Stern, Geo, and Marie Claire, among others. She has been the recipient of numerous awards for her humanitarian reportage. Ashley Gilbertson “Whiskey Ashley Gilbertson “Whiskey Tango Foxtrot” series Tango Foxtrot” series

Samantha Appleton “Men with War” series Samantha Appleton “Men with War” series

Stephanie Sinclair “Self- Vincent Cianni “Gays in the immolation in Afghanistan: A Military: How America Thanked cry for help” series Me” series

COLLATERAL DAMAGE: The Human Face of War September 7, 2012 – December 1, 2012 Stephen Daiter Gallery Chicago, IL

METRO GALLERY FRAME

Standard Profile: 101 Type: standard gallery frame Wood & Finish: walnut wood frame with ebony finish Purchasing Options: joined wood frame Framing Advice: fitting gallery frames Henry Horenstein “Honky Tonk: Portraits of Country Music”

Concentrating on the 1970s, but spanning to the present day, Horenstein’s gritty, black-and-white photographs capture the irrepressible spirit of an American institution. Some say the 1970s were the last great decade of country music—between the pomade, plaid jackets, and goofy hillbilly jokes of the 1950s and the more polished “Urban Cowboy” sound of Nashville in the early 1980s. Horenstein’s work captures it all, from the roadside seediness of TJ’s Lounge to the backstage glamour at the Grand Ole Opry. From bluegrass festivals and country music parks to the honky tonks and dance halls, these images picture such celebrities as Dolly Parton, Jerry Lee Lewis, Waylon Jennings, up to a recent cardboard cut-out of Garth Brooks (which speaks volumes about the artist’s personal opinion of the direction the genre has taken of late). However, the photographs feature not only the stars, but also include the familiar venues and enthusiastic fans who sustain them.

Henry Horenstein is the author of more than thirty books to date. His work is represented in the collections of a long list of public institutions including the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Museum of Art, Princeton University, New Jersey; the High Museum, Atlanta; the Fogg Museum of Art, Cambridge, Massachusetts; and the George Eastman House, Rochester, New York. He is a professor at the Rhode Island School of Design, and resides in Boston.

“Henry Horenstein: Honky Tonk: Portraits of Country Music” September 6 – October 12, 2012 ClampArt New York, NY

FRAMING SPECIFICATIONS AND ADVICE

METRO GALLERY FRAME

Standard Profile: 106 Type: standard gallery frame Wood & Finish: maple wood frame with charcoal finish Purchasing Options: joined wood frame Framing Advice: fitting gallery frames Metropolitan frames go to London

This fall we had the pleasure of working with Graphicstudio on a new project for Allan McCollum. We had worked with Graphicstudio on a previous project for the artist. After that initial series, a commissioned version of the work entitled “One Thousand Women” was recently installed in the Chanel store in London. The Chanel installation features the most popular 1000 women’s names according to the US census. The project has a global aspect. The artist, Allan McCollum, lives and works in New York City. Metropolitan Picture Framing is located in Minneapolis. Graphicstudio is located in Tampa. The first series was shown at La Salle De Bain in Lyon and at the Thomas Schulte Gallery in Berlin. Because of the German exhibit, the artist was commissioned to create a project for the Chanel store in London. We wanted to find out more about how the project came into being and how artists work with Graphicstudio as well as the framing and installation challenges of this commission.

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Kristin DuFrain, Curator and Registrar, Kristin Soderqvist, Director of Sales and Marketing,

Jennifer Andrews, Internet Marketing, and Matt Squiers, Production Assistant of Graphicstudio contributed to the interview below.

Karen Desnick, metroframe I know that Graphicstudio is a university-based atelier that works directly with artists engaged in the production of limited edition prints using traditional and new techniques. Can you tell me how the collaboration with artists begin and how their work is marketed?

​Artists are invited to work at the studios by invitation from our Director, Margaret Miller. Artists are selected based on our current curatorial interests and programming at the Institute for Research in Art (Graphicstudio, USF Contemporary Art Museum and the Public Art Program). Once an agreement is reached and a contract is signed, we market the editions to collectors, corporate collections, museums, art consultants and other galleries. We participate in art fairs targeted to works on paper and editions. We also work closely with galleries that are the main representative of the artist. We sell work nationally and internationally. We also have a strong e-marketing campaign using Facebook, Twitter, YouTube and a blog.

Note: ​Over one hundred leading international contemporary artists have created more than 600 limited edition fine art works at Graphicstudio, in intaglio, photogravure, lithography, cyanotype, relief, serigraphy, sculpture, artist books, and in the Graphicstudio invented techniques of waxtype (encaustic screenprinting), and heliorelief (a photographic woodblock process). Click to see a list of graphicstudio artists. Karen Desnick, metroframe Can you tell us us more about Allan McCullom’s relationship with Graphicstudio? I know that his work with Graphicstudio was selected to be in the collection of The National Gallery of Art.

Kristin DuFrain and Allan McCollum

In 2004 Allan’s first project with us was “Each and Every One of You” which consisted of 1200 Digital inkjet prints (600 male and 600 female names listed as the most common names for each gender according to the 1990 US Census Bureau) .

He researched the U.S. Census Bureau’s most recent compilation of common names used in the U.S., and produced 3 portfolios of 1200 prints. Each portfolio is ordered according to popularity into two handmade walnut boxes. The paper size was 4″ x 6″ and the framed pieces were matted to 8″ x 10″. It was made in an Edition of 3. “Each and Every One of You” was first exhibited at theBarbara Krakow Gallery in Boston, Massachusetts. We have continued working with Allan through the years to create sculptural shapes and most recently the project “One Thousand Women” for Chanel.

Karen Desnick, metroframe I know that the Chanel project was a commission. Can you discuss how that happened.

“Each and Everyone of You” was on display at Thomas Schulte Gallery in Berlin, . Someone working on the new Chanel store in London saw the project and approached us and the artist about doing a site specific commission for the space of just female names.

Karen Desnick, metroframe How was the work produced? How many people were involved?

The prints are Digital inkjet prints hand cut and framed at Graphicstudio. The digital process for the project was: 1000 individual names were created as Adobe® Photoshop files using a Helvetica® black condensed font as white text in a black inked field. Each name was centered and scaled to fit within a specified space of 1/4″ inside the black inked field. A Gaussian blur filter of 1.0 was applied to each name. The names were printed with Epson Ultra Chrome TM using matte black Ink on the EPSON Stylus Pro 7900. For the original project back in 2004 we had a crew of about 15 staff and students working on it at different times. For the Chanel project we had 3 – 4 people working on it.

Karen Desnick, metroframe Framing, crating, shipping is challenging for 1000 pictures. Can you talk about the logistics of getting it done.

On both projects we had to create a kind of factory assembly line. We created templates to cut pieces we needed, we set out all of the frame parts, we put them together, and then cleaned the frames and wrapped them in ethafoam. Each frame has a label on the back with the project information and also its popularity. We then made custom boxes and packed the work in plastic wrapped stacks in popularity order. When the artwork arrives to the site for installation it needs to be easy to open and hung in the correct order. We sent the work in a custom built crate via an art handler to London.

Karen Desnick, metroframe Installing 1000 pictures just over an inch apart with security hangers so they hang straight and are sorted by name popularity has to be challenging. Matt, can you explain the process and how long it took? I had experience installing Allan McCollum’s work because I worked on the installation at the Thomas Schulte Gallery in Berlin, which represents the artist. Two of their preparators met me in London to help with the installation. The first thing I did was to make an Adobe® lllustrator computer file exactly to scale. I then put the measurements for the security hanger holes into the file. I printed it out on a laser printer which maintains the scale perfectly. I taped 10 of these printouts together and took a piece of clear acetate and laid it on top of the printouts. I punched a thumb tack through the acetate where the holes for the security hangers were suppose to be. I made three of those and taped them to the wall. I used a nail to punch the holes in the wall. I used a contractor grade DeWalt laser level to dictate where the acetate was being placed on the wall. Because there was a banister that went all the way up the wall, it was necessary to start from there and work upwards. We put all of the security hangers up first and then attached the frames. One of the most difficult aspects was the small amount of space between the frames (3 cm or approximately 1.18″). We had to bend the security hanger tool to be able to get between the frames to attach them to the hanger. The project was also complicated because they were still doing construction in the rest of the store. We worked on the project off and on for about a week.

Karen Desnick, metroframe For those of you who are wondering, Mary is the most popular girl’s name and James is the most popular boy’s name.

Links

Allan McCollum

Graphicstudio

“DAVID EINSTEIN: A Forty-Year Survey – Paintings and Works on Paper”

One of the nice things about our digital world is that we can now see the work that goes into our frames. This is a major exhibition at the Michael Lord Gallery in California that I think will interest you.

The public is invited to attend an opening reception for the artist on Friday, March 4, from 6 to 8 pm. The exhibit continues through April 2, 2011.

A painter of landscapes, David Einstein prefers to work in an abstract vein that gives him the freedom to render nature subjectively. Along with his paintings, Einstein explores ink and brush mark making on handmade paper and ceramic surfaces. The gallery is concurrently publishing a landmark book illustrative of his outstanding career.

“DAVID EINSTEIN: A Forty-Year Survey – Paintings and Works on Paper”

MICHAEL H. LORD GALLERY

The Michael H. Lord Gallery features a wide range of contemporary art across all genres including painting, photography, video, installation, public and sculpture work. The gallery is located at 1090 N. Palm Canyon Drive, Palm Springs, CA 92262.