You are invited to my solo exhibition at Pratt Manhattan's School of Continuing and Professional Studies Gallery, "In the Fountain", Opening reception on Tuesday, May 28, 6-8PM and it is on view until June 30th. The address is 144 W 14th St, NY.
New York Galleries: What to See Right Now
Georg Baselitz takes on other artists’ self-portraits; Vivian Browne’s “Little Men” is a blast from the past; Enrico Riley’s ‘New World’ paintings; and Pamela Colman Smith, beyond the tarot cards.
Pamela Colman Smith
Through April 11. Pratt Institute Libraries — Brooklyn Campus, 200 Willoughby Avenue; 718-636-3420, https://www.pratt.edu/events/
Pamela Colman Smith’s “Sea Creatures,” undated, watercolor on paper. Credit Beinecke Rare Book and Manuscript Library; Yale University
The artist and publisher Pamela Colman Smith died in obscurity in 1951, at 73, and is mostly remembered for illustrating the widely used Rider-Waite-Smith tarot card deck. An overdue retrospective, “Life and Work,” which lines three levels of a Victorian stairwell at Pratt Institute Libraries, shows how much more Ms. Smith accomplished. The curators Melissa Staiger and Colleen Lynch have gathered examples of her book and magazine illustrations, paintings and theater set and costume designs, all flavored with Art Nouveau and the stirrings of surrealism.
Ms. Smith was born in London to American parents and spent her childhood shuttling between England, the Caribbean and Brooklyn. She studied art at Pratt, and by her mid-20s had won acclaim for illustrating books of Jamaican and Irish folk tales and issuing her own magazine of ballads and legends, “The Green Sheaf.” She traveled in literary and artistic circles, painting portraits of the British actress Ellen Terry and illustrating horror stories for the novelist Bram Stoker. Alfred Stieglitz’s Manhattan gallery showed Ms. Smith’s eerie watercolors of mermaids and waterfront cliffs concealing gargantuan deities. (His leftover inventory is now at Yale).
Ms. Smith (who is the subject of a new monograph from the publishing company U.S. Games Systems) pursued studies in the occult, too, joining a group called the Isis-Urania Temple of the Hermetic Order of the Golden Dawn. In recent decades, tarot devotees, intrigued by the initials “PCS” on each card, have spearheaded the rediscovery of her work.
The mazelike display at the Pratt show suits Ms. Smith’s enigmatic art, but it feels cramped. This tribute to a prolific experimenter deserves to be expanded and brought out of the stairwell. EVE M. KAHN
Pamela Colman Smith, renowned for illustrating the Rider-Waite-Smith tarot deck, began her artistic career in 1893 as a student at the newly founded Pratt Institute. Her artistic output in her brief but successful career included paintings, illustrations, set and costume design for theater, a literary magazine, and books of folklore. Smith moved in bohemian circles both in New York and London, exhibiting at Alfred Stieglitz’s Gallery 291, the first non-photographer to do so, and collaborating with W.B. Yeats, Bram Stoker, and the celebrated actress Ellen Terry.
This exhibition presents an overview of Smith’s life and multi-faceted career, showing books, prints, reproductions of illustrations and paintings, and tarot decks, along with photographs of her illustrious family and friends. Telling her story and providing a context for her work, this exhibit shows how her style, archetypal subject matter, and interest in ancient spiritual traditions profoundly influenced her drawings for one of the most popular tarot decks in use, the Rider-Waite-Smith tarot. Linking Smith’s time to now, Pratt alumi Emi Brady, David Palladini, Jen May and Phil Williamston, will have tarot decks on display to showcase contemporary variations on the traditional deck.
This exhibition is co-curated by Pratt alumni Colleen Lynch and Melissa Staiger.
On View: January 31, 2019 – April 4, 2019, open during Library hours
Opening reception and tarot reading on January 31st, 5:00 – 8:00 pm
Pratt Institute Libraries – Brooklyn Campus, 200 Willoughby Avenue, enter at the corner
of DeKalb Avenue and Hall Street/St. James Place.
January 29 – May 1, 2019
Opening reception: Tuesday, January 29, 6:00 – 8:30 pm
Viewing hours: Monday – Friday, 9:30 am – 5 pm (check in with community manager on floor 5) and by appointment (contact email@example.com)
Left: Jamie Powell, Stand Up Straight Girl, 2015, acrylic and spray paint on dyed cut canvas, 46 x 34 inches, courtesy of the artist. Right: Melissa Staiger, Brain Power II, 2017, assemblage made of acrylic paint, paper and plastic, 16 x 12 x 3 inches, courtesy of the artist.
Neumeraki is pleased to present Seeker, an exhibition featuring the works of Jamie Powell and Melissa Staiger, curated by Eileen Jeng Lynch. Powell and Staiger explore colors, forms, patterns, and textures in their vibrant, abstract works—as a means of navigating their lived experiences and pushing the boundaries of painting and sculpture. The artists’ unique assemblages cultivate a sense of play—suggesting movement and energy.
Powell’s modest upbringing in a family of farmers and factory workers in West Virginia has influenced the artist’s use and re-purposing of textile-related materials. Focusing on a soft edge in her work, Powell tears, cuts, braids, and dyes canvases to create brightly colored, sculptural paintings through an intuitive process. Acrylic and spray paint act as dyes for the canvas. With references culled from popular culture, Powell’s pieces explore domesticity and femininity while subverting conventional notions of display. By revealing the underlying support, her work suggests many dichotomies, including absence and presence. Employing humor, Powell formulates titles and compositions that imply a human presence or personality.
For Staiger, paint—along with other materials, including paper, marble, wood, and rigid plastic—become sculptural elements. Embracing the hard edge, the artist methodically assembles and arranges gestures, shapes, and lines—layering textures and structures—to create collages and sculptural paintings. Staiger explains, “When working with materials, I listen to their demands.” Seeking stasis, the artist makes connections between the body, mind, and soul.
Powell and Staiger investigate the use and re-use of materials as well as their personal histories. Chance, spontaneity, and discovery are part of the artists’ practices—capturing dynamic and animated sensibilities in their works.
About the Artists
Jamie Powell was born and raised in West Virginia. For the last decade, New York City has been her home. She has exhibited her paintings extensively over the last twelve years including: FLUXspace in Philadelphia, Soil Gallery in Seattle, David & Schweitzer in Brooklyn as well as Garis & Hahn, Freight + Volume and Morgan Lehman in New York. Jamie received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center, and Pratt Institute. Powell has worked extensively in arts education as a faculty member at Pratt Institute and as a Teaching Artist for the Studio in a School Foundation and Lincoln Center Boot Camp. She received her MFA and the Paul Robeson Emerging Artist Award from Mason Gross School of the Arts at Rutgers University in 2006. Currently, she lives and works in Queens, New York where in 2014 she Co-founded an artist-run-studio and project space called Reservoir Art Space. jamielpowell.com/
Melissa Staiger was born in Louisville, Kentucky and grew up in Upper Marlboro, Maryland, a suburb outside of Washington, D.C. Staiger is an NYC-based artist and independent curator. Staiger’s solo shows include Open the Door at Kent Place Gallery, Summit, NJ (2018); Push with the Tide at Trestle Projects, Brooklyn (2015), and Triangle Works at Janet Kurnatowski Gallery, Brooklyn (2012). Recent group shows have been at ABC No Rio, New York; Benaco Arte, Sirimone, Italy; Cementa Festival in Kandos, Australia, and the Wassaic Project Festival, Wassaic, New York. She has participated in the Robert Rauschenberg Artist Residency in Captiva, FL and was the 2016 Curator-in-Residence for Trestle Projects. Staiger is a board member of ABC No Rio and a member of the American Abstract Artists. She has a BFA from the Maryland Institute College of Art (MICA), Baltimore, MD and an MFA from Pratt Institute in Brooklyn, NY. Staiger lives and works in Brooklyn, NY. melissastaiger.com/
Founded in 2011 by Morris Levy and Richard Beyda, The Yard is a revolutionary, shared office space that allows driven professionals to work together in an innovative community. The Yard provides month-to-month memberships for private offices, private desks, and co-working spaces in 14 designed locations in New York, Boston, Philadelphia, and Washington, D.C. The community comprises more than 2,000 companies and thousands of members across all locations. Members have access to state-of-the-art conference rooms, beautiful breakout lounges, monthly networking events, rotating art gallery installations, and hundreds of business amenities. theyard.com/
Surface 7 opens at ARENA at Brooklyn Dermatology – 440 Atlantic Ave., Brooklyn
Surface 7: Jennifer Deppe Parker, Mayuko Fujino, Katherine Mojzsis, Marcy Sperry and Melissa Staiger is the seventh in a series of exhibitions curated by Renée Riccardo at a contemporary art gallery that she has developed within a dermatology space called ARENA at Brooklyn Dermatology. There will be a reception for the public Friday, September 28th from 6 – 8 p.m. and the exhibition will be on view to the public for the next four months and a half months. Riccardo is continuing the mission of presenting new work by emerging artists that she had developed in her previous gallery, ARENA. This is one of the many unique venues that Riccardo has presented contemporary art exhibitions in over the years.
Melissa Staiger will present a large group of paintings in Surface 7. She states, “In 2013, I was nominated to attend the Robert Rauschenberg Artist Residency. The staff graciously took us to the massive metal scrap yard where Rauschenberg would find materials for his works. I started playing with scraps that I hadn’t thought of using before. A green metal piece became a major key player in my understanding on how found objects can give the surface of a painting so much 3D texture. This put me on a path of creating many assemblages with various materials.
All of these experiences I took back to the studio and my work. Combining physical objects with paint adds another dimension to my art. From the most expensive tubes of paint to a broken tile found on the floor, both hold an energy and vibration of color. I carefully arrange objects, shapes, lines, and colors. I pay attention to the relationships, patterns, and shifts of movement. I arrange them in my works and play around with it. I need time to immerse, experiment, listen, and draw in my sketchbook to push my work further. In this creative process, I control what I produce and can deem myself authentic as the creator. In my creative process, circles, mark making, collage, painting, assemblage, and texturizing are taking me to a path of color, structure, and layering. I love the hard edge, and making marks and using color as the structure in my work opens up a glimpse of understanding that I crave within my inner self. When I am able to use my entire body and make sweeping marks on the floor, I am reaching for a composition to form. Then suddenly, the work feels right and then I have a moment of accomplishment right before I release it into the world.”
Staiger has exhibited internationally with several solo exhibitions including Kent Place Gallery, Summit, NJ (currently on view), Trestle Projects, Brooklyn, NY and Janet Kurnatowski, Brooklyn, NY. Her work has also been featured in group exhibitions including Wassaic Project, Wassaic, NY, Articulate Gallery, Australia, Cuchifritos Gallery, NYC, Schema Projects, Brooklyn, 500X Gallery, Dallas, TX, Momenta Art, Brooklyn, NY and The Bruce High Quality Foundation, NYC. She has been awarded several residencies including The Robert Rauschenberg Artist Residency, Captiva, FL, The Puffin Foundation Artist Grant, Teaneck, NJ and The Wassaic Project, Wassaic, NY. She lives and works in Brooklyn.
Brooklyn Dermatology was started in 2005 by Dr. Sourab Choudhury. It is dedicated to world class dermatology in a modern friendly environment. The practice now consists of multiple dermatologists and physician assistants who handle all facets of dermatology including adult, pediatric and cosmetic dermatology. Brooklyn Dermatology has recently moved to a brand new facility to accommodate the growth of the practice to this location. The new office, located on the ground floor and lower level of 440 Atlantic Avenue, Brooklyn was designed by Paul Bennett Architects.
Renée Riccardo is an independent curator. She was an adjunct curator at P.S.1 Contemporary Art Center in New York from 1987 to 1988 and independently organized shows of postmodernist photography from 1985 through 1990, including the traveling exhibition Acceptable Entertainment for Independent Curators Inc. In 1991 she opened ARENA, a gallery dedicated to emerging artists working in all media, and in 1996 and 1997 she co-organized with John Good The Art Exchange Show, an New York art fair that focused on new art, music and performance that took place in two abandoned Wall Street office buildings. Riccardo continued her gallery, ARENA through 2004, having it sited in Soho, Cobble Hill, Williamsburg, and Chelsea at various times launching many artists very early in their careers such as Joanne Greenbaum, Rachel Harrison, Beom Kim, Fabian Marcaccio, Jason Middlebrook, Marilyn Minter, Vik Muniz, Wangechi Mutu, Mickalene Thomas and Kehinde Wiley among dozens of other now well known artists. In 2004 she established ARENA Projects, a roving curatorial and consulting entity. She has since curated dozens of exhibitions including a series entitled, Wrap Around at ARENA@Suite 806, a gallery within her therapist, Lee Shapiro, Psy.D.'s office at 89 Fifth Avenue, NYC. In June 2017, Riccardo and Paul Laster curated the exhibition, Maker, Maker at the CMA (Children’s Museum of the Arts), NYC.
For further information regarding Surface 7 please contact Renée Riccardo at firstname.lastname@example.org or call 646 734 2261. ARENA / Brooklyn Dermatology is open to the public Monday - Saturday at 440 Atlantic Ave., (between Bond and Nevins Streets in beautiful Boerum Hill, Brooklyn. Directions: Take the G, A, or C to Hoyt-Schermerhorn, the 2, 3, 4 or 5 to Nevins St., B, D, Q or R to Atlantic Ave. - Barclays Center.
I See an Omen
mostra curata da Will Hutnick
19 Maggio 2018 – 31 Dicembre 2018
opening: 19 Maggio 2018, h 17:30 - 21:00
Beverly Acha, Kate Alboreo, Natessa Amin, Rebekah Callaghan, Charlotte Hallberg, Cheryl Hochberg, Meredith Hoffheins, Christopher Kardambikis, Simone Miani, Padma Rajendran, Scott Robinson, Melissa Staiger, Taylor Thomas, Elizabeth Tolson, Orkideh Torabi, Morganne Wakefield and Kelly Worman
Benaco arte e` lieta di presentare I See an Omen (Colgo un presagio), un'esibizione di gruppo composta da dipinti, stampe, disegni, collage e video che esplora concetti come paesaggi onirici, realtà alternative e l'artista come sciamano. Nell'esibizione vi saranno opere selezionate da Will Hutnick, curatore-in-residence di Benaco Arte, raccoglie lavori creati da residenti dell'edizione passata di B.A. durante la loro permanenza a Sirmione e artisti Statunitensi selezionati dal curatore.
Benaco Arte is pleased to present I See an Omen, a group exhibition composed of painting, drawing, printmaking, collage and video that explores ideas around dreamscapes, alternative realities, and the artist as shaman. The exhibition, curated by Benaco Arte alum Will Hutnick, brings together four past Benaco Arte artists-in-residence whose works were created while in residence in Sirmione, with additional artists selected by the curator.
Structure: To balance the sometimes spontaneous nature of an art practice, structure in certain forms is necessary to create a framework under which to work. From the physical studio/daily routines to organizing thought patterns, structure helps to implement a plan of action. Daily structures such as sleeping, eating and exercising patterns can help to inform an art practice as much as reading theory in relation to the ideas of the work. Structures are also evident in certain art traditions of materials or ways of working, such as an oil on canvas painting tradition. While structure may exist in material conventions for some makers, others may rely on conceptual structures which allow ideas to dictate materials. Those makers must rely on organizing the thoughts of their practice into a coherent system to work from.
Wow! So excited about the Trestle Art Benefit at Trestle Gallery this coming Friday, Dec. 9th, 2016. Very honored to be honored along with Heather Bhandari. Tickets at http://www.trestlegallery.org/tab. Two out of the seven works on were graciously framed and donated by https://www.facebook.com/pages/Squid-Frames/791071307676729