Inez Storer was chosen to exhibit newly commissioned works along side sixteen other contemporary artists in response to a selection of tales from Jewish folklore. Acting as modern maggids—storytellers, transmitters of knowledge, secrets revealers—they explore the many facets of these stories’ characters, themes, and metaphors. This latest exhibition features Inez's work from Jewish Folktales Retold: Artist as Maggid. The exhibition was held at The Contemporary Jewish Museum from September 28, 2017 to January 28, 2018.
"My idea is that narratives sacrifice intuition, gut feelings and the profound experience of mystery that a painting has the potential to provide. My forms and marks, with their apparent weight, particular vitality, and inertia live in a luminous and transparent environment. Their primary focus is on rhythm and cadence that I try to convey through color, line, and forms. As such, they are purely expressive or lyrical, not narrative. My paintings are there to let the mind of viewers run free and float through colors and patterns, moods and emotions.
In addition, the most recent paintings are moving toward an openness, letting color and space within the piece play a more prominent role in achieving a balanced yet lively environment, coexisting with forms, line and marks. I am interested in relationships forms, marks,color and depth have and how they interact to form the painting . I will update my statement on website shortly. I need to update with newer work as well. but for now, hope this helps. "
Alyssa Monks is blurring the line between abstraction and realism by layering different spaces and moments in her paintings. She has flipped background and foreground using semi-transparent filters of glass, vinyl, steam, and water over shallow spaces in her 10-year long water series. Today, she is imposing a transparent landscape of infinite space over evocative subjects.
The tension in her paintings is sustained by the composition and also by the surface quality itself. Each brushstroke is thickly applied oil paint, like a fossil recording every gesture and decision, expressing the energetic and empathic experience of the handmade object. “I strive to create a moment in a painting where the viewer can see or feel themselves, identify with the subject, even be the subject, connect with it as though it is about them, personally.”
Photographer Laura McPhee is noted for her stunning large-scale landscapes and portraits of the people who live and work in them. She is currently working in the desert west of the United States where she is chronicling visual stories about time, both geologic and human. A serpentine river cuts deep incisions in the land over ages. A gold mine on the edge of the Black Rock Desert has the earth slashed open and its ruddy interior revealed. A still-life found at the edge of an alkali flat reveals intricate details of daily life—a tiny plastic toy among shards of glass and rust, a penny, machine parts, and desert varnished tin cans. All contemplate the unintended consequences of humanity’s attempts to control and manage nature and how we use the earth and to what ends. A meditation on our material lives, the images depict our paradoxical approaches as we at once protect, alter, and extract from the land.
Michael Gregory’s work is immediately recognizable with its American icons of barns, homesteads, and imagined fields. These structures, while forefront in his previous works, now play evenly with the powerful imagery of the landscape and light. The light, as seen over American soil, is captured from the landscapes of our enigmatic Midwestern and Western fields to the luminescent nighttime sky overlooking cityscapes.
Gregory’s work is included in many private and public collections including The U.S. Trust Company in New York, Microsoft Corporation, General Mills Corporation, Bank of America and Champion International Corporation, and The Denver Art Museum.
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