Mistral: The Legendary Wind of Provence is a portrait of Provence seen through its legendary wind. It funnels down the Rhône Valley between the Alps and the Massif Central mountains, gaining speed as it reaches the Mediterranean. I have been going to a small Provençal village for the past forty years, and I became captivated by the mistral because it was so often present in our lives and so much a topic of conversation by neighbors and friends. The mistral is not just a weather phenomenon: it is an integral part of the fabric of Provençal life. Nobody who lives or spends time in the region can escape it. It slams doors, lifts roof tiles from houses and tears fruit from trees. It is a gremlin wreaking havoc. It is everywhere. It is nowhere to be seen. My work takes place where an invisible force makes itself visible. A leaf takes flight. Waves breach a sea wall. Trees bend. My images illustrate the ways in which this unseen force profoundly effects life in Provence in both concrete and indirect ways. Houses have few or no windows on the northwest, windward side and the main entrance on the southern, sheltered side. Heavy stones hold down terra-cotta roof tiles. Rows of trees lining fields create windbreaks to shield crops. Artists have long been drawn to the area for the clear skies that follow a mistral, and many painters, like Van Gogh, have painted scenes with wind raging. The mistral has also entered the psyche of the people: in a folktale, the wind-tormented locals finally capture the mistral and imprison him. The mistral as a living character. The mistral as a spirit, the spirit of Provence.
Photographer Rachel Cobb has photographed current affairs, social issues, and features in the U.S. and abroad for the past 25 years. She has been published in The New York Times, The New Yorker, Sports Illustrated, Time, Rolling Stone, Natural History, Stern, Paris Match among others on assignments ranging from U.S.-led sanctions in Iraq, a Kosovo Liberation Army soldier’s journey from a U.S. college to his war-torn homeland, the Evangelical movement in Guatemala, and a papal visit to Cuba.
Reflections on the Bears
While at first glance Judith Kindler‘s latest body of work looks like child’s play with the use of Teddy bears but they underline the concern that Kindler has in her look at the loss of innocence in contemporary life and her reflections of finding hope, joy and peace amidst corruption, hate and abuse. The Teddy bear is innocence and maybe for Kindler, she wants that back.
Kindler tackles three different ideas via motifs in creating a narrative in this work. The first, that of unity through a zen like understanding of “harm no one” and finding peace within, exemplified by the zen-like circles. The second, the morphing of a small child becoming a bear cub, reflecting on the ideas of reincarnation as the ultimate karma for allowing bears and cubs to be killed while they are hibernating, as a result of a recent horrific loosening of hunting laws. Lastly, the work titled “They thought they could bury us. They did not know we were seeds” is a reflection on the oppression of thought, gender, race, ecological preservation, and religion - the “seeds” offering up a sense of hope for our future.
One of Kindler’s three-dimensional bear installation references the story of Theodore Roosevelt’s hunting trip, where his cohorts who had all killed an animal, beat and tied a bear up to a tree and told Teddy who had not yet killed an animal that he could shoot the bear. Theodore or Teddy was revolted by this activity and told the man to put the bear out of it’s misery and he disgustedly walked away.
Political cartoons of the day showed an illustration of Teddy Roosevelt walking away from the scene where the bear was tied up and eventually this cartoon evolved into the bear being a small adorable cub referring to the scene as “Teddy’s bear”. An enterprising man decided that the small cub was indeed adorable and made the first stuffed bears calling them “Teddy bears” which became a huge commercial success. This installation of nine bears connected together by ropes and covered in jewels, playfully and satirically portrays the story of the origin of Teddy Bears.
James Cook • Theodore Waddell • Pamela Detuncq • Tony Foster
Pegan Brooke • Robb Putnam • Alexander Rohrig • Jane Rosen
Kenna Moser • Jack Spencer • Hung Liu • Robert McCauley • Lisa Kokin
Victoria Adams • Lynda Lowe • Margaret Keelan
A major group exhibition that will showcase a wide variety of the gallery’s internationally recognized and emerging artists who will be included in group shows or have one- person exhibitions at the gallery in 2019.