Tag Archives: arts

Harold Feinstein Accepts Book Award

Coney Island Teenagers, 1949

Coney Island Teenagers, 1949

ANNE REED GALLERY artist, Harold Feinstein, accepts the prestigious PDN (Photo District News magazine) award for Best Photo Book 2013 this week in NYC. We want to take this opportunity both congratulate Feinstein and acknowledge his incredible presence in the photography world for the last 60+ years.

Harold Portrait-ARG Harold Feinstein: A Retrospective (Nazerali Press), is the first career-spanning monograph of Feinstein’s work and was funded by the public using a Kickstarter campaign. The campaign was endorsed by The New York Times, NPR, and American Photo and it exceeded its goals in just 30 days! It is an honor to be chosen by PDN’s panel of notable art directors, photographers, and editors for this award. In addition, the book  received the Photo-Eye Best Book of 2012.

Feinstein, a member of the socially conscience Photo League group, was a distinct presence in what is often referred to as the “New York School of Photography.”  From historic NYC’s store fronts, to Coney Island’s smiling teenagers, to the Korean War’s troops – you are bound to recognize at least one of his iconic black and white images. His work has been featured in the Jewish Museum, the Muse d’Art Moderne in Paris, and the George Eastman House, among others, and 55 of his floral prints are installed in a performing arts center at Stanford University.

Window Washer, Harold Feinstein

Window Washer, 1974

We feel grateful to be included in Feinstein’s gallery representation. Currently, ANNE REED GALLERY is exhibiting selected images from Feinstein’s Coney Island portfolio which can be viewed here: Coney Island. We welcome any questions you may have about any of Feinstein’s work.

Harold Feinstien, Magnolia

Magnolia

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“Dinner with an Artist” featuring Cheryl Warrick

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY‘s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table. There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Cheryl Warrick to discuss her current exhibition: Visual Dance.

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ARG: What early influences sparked your interest in art and becoming an artist?

CW: I remember watching my father draw and sketch on napkins and the papers that were in front of him on his desk.  He would never describe himself an artist. He was a Retired Army Lt Col. and was very organized and thoughtful with everything. I thought his drawings were amazing. They were like watching his brain at work. Drawing was how he figured things out. My sister is also an artist. I can remember watching her creating small figurative sculptures of wax and wire coat hangers.  I started drawing in middle school. I drew the figure mostly. I would pull out my sketch pad and draw everyone as they watched tv at night. 

warrickNOTwords

ARGYour paintings contain many symbols that you have mentioned are important to the viewers’ “continued exploration” of your works. We notice some symbols recur in your works, such as boats, trees, ladders and even teapots. Can you explain what some of these symbols mean to you and why you choose to include them in your paintings?

CW: I think of these images as archetypes. We all know something about these objects, either on a personal note or as a symbol that represents the opening to a deeper story. We all know something about an empty chair. It could be about loss or about someone who will fill that seat in the future. Two empty chairs may imply a conversation. I am not really fixed on a meaning, and everyone will always have a different response when they see these images. 

ARG: Besides iconography, you are also clearly drawn to landscapes, including your new series of acrylic works on paper featured on our sister site ARTprojectA. Are these specific landscapes or landscapes that are made-up, fabricated?

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Distant Ground, Acrylic on Paper

CW: I invent my landscapes. They are also about symbolic associations. We are all living with a sky above us and the earth under foot. I paint from what I call “internal knowing” and I invite the viewer to complete the painting by bringing their own meaning and interpretation to what they see. There are often, hills, valleys, waters to cross, stormy skies, bare trees or densely filled horizons. Some places seem a stone’s throw away, while others are much farther off. 

ARGIn some of your works you use materials other than paint such as bits of found paper. Where do you find these materials and why do you choose to incorporate them in your paintings? 

CW: I love bits of scrapbooking paper, old maps, found letters, and ledgers. Almost anything. I love putting found papers down as a way to begin. I cover them up and then they begin to form a texture and history in the work. 

J.M.W. Turner Painting, "Snow Storm: Hannibal and his Army Crossing the Alps"

J.M.W. Turner Painting, “Snow Storm: Hannibal and his Army Crossing the Alps”

ARG: Do you have any current or historical role models who inspire you? 

CW: I have a great appreciation for many artists and kinds of art. I am a big fan of the landscape paintings by J.M.W. Turner. They always seemed so contemporary.  I also love the the work of a group of women quilt makers from Gee Bend Alabama. The improvisation, texture and movement in these quilts are really beautiful.

ARG: Have you encountered any obstacles you’ve had to over come in the art world? And if so, what advice would you offer other aspiring artists?

CW: I think all artists have obstacles from time to time. The first and most important thing in my mind is always self compassion. We are taught to take great care of our brushes and art materials, but our first tool is ourselves. It starts with being present with yourself and allowing what is there to be there. Meeting yourself as a creative person on a journey that is not linear is a real challenge. It requires radical acceptance and cultivating a practice of inner dialog that is kind. I suggest spending a lot of time in nature, that really helps. 

Letters, Acrylic - Mixed Media on Panel

Letters, Acrylic – Mixed Media on Panel  

ARG: Have you been influenced by living in Boston?

CW: Yes, especially lately. The recent bombings at the Marathon were horrific and tragic. There are so many brave, kind people that helped one another on that day, and the days that followed. It was truly inspiring. This is a great city, alive with a vibrant caring community, culture and of course, wonderful art. 

ARG: Can you tell us a little bit about where you work?

CW: I have a small studio in the SOWA district of Boston. The building used to be a whiskey factory and has been artists studios since the 80’s. The floors are sloped from the weight of the whisky barrels. There are 20 or so artists in the building. It is rather old and creaky, but it works!

The Way, Acrylic - Mixed Media on Panel

The Way, Acrylic – Mixed Media on Panel

ARG: Just for fun, Do you listen to music or the radio when you paint? If so, can you tell us what you listen to.

CW: I always have my ipod on..I’m a big fan of musical compilations. I listen to anything from Love is My Religon by Ziggy Marley to anything Bill Evans and everything  you can imagine in between.

ARG: Do you have any thoughts about the direction you see your work evolving?

CW: I have no idea, I am just grateful to pick up the paint brush and paint! When I  look back over more than 20 years of facing the blank canvas, something always comes. Creative life is a beautiful dance with faith, trust and action.

ARG: Thanks, Cheryl. We’ve so enjoyed sharing a conversation over a “virtual dinner” with you and look forward to more time with you in the future.  Cheers!

CW: This was fun. Thank you.
 

“Dinner with an Artist” featuring Brad Durham

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY‘s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table. There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Brad Durham to discuss his current exhibition: Catching Light I and II, and much more…

Artist BRAD DURHAM in his studio.

Artist BRAD DURHAM in his studio.

ARG: What early influences sparked your appreciation for and creation of art?  

BD: When I was three, I had a sitter who took me to the beach to do watercolors. In many ways these early experiences with forms and colors became my first language.

ARG: Are there any contemporary and/or historical artists, writers, poets, filmmakers, etc… who have or continue to inspire you? 

BD: When I finish a painting, I always imagine asking Rothko and Giacometti if it’s good enough.  That’s because I find Rothko’s paintings to be meditations on the divine, and Giacometti’s works express the essence of humanity and the human condition. Both Rothko and Giacometti have a stillness and meditative quality that I find meaningful.

ARG: We’d enjoy hearing about your studio space. Can you describe it for us?

BD: Studios are always an issue. I lived in Los Angeles lofts for 15 years and there is a dynamic and immediacy to living and working in the same space that fuels creativity. But, at one point, I wanted to have some separation.  Now, my studio in Minneapolis is actually perfect. The house came with a large work studio that’s twenty steps from the back door, which allows for separation but also for those flash creative moments.

ARG: When you moved from Southern California to Minnesota several years ago, did that affect your work and if so, in what way?

BD: For my growth as an artist I needed change. I lived in Los Angeles for 20 years and began to realize that that familiarity wasn’t beneficial to my maturing. It was quite unexpected to end up in Minnesota, a state off the radar of many. My wife and I visited two friends here and immediately felt at home. The changes to my work were instantaneous – the paintings now have a life between the dimensions that I didn’t know possible.

ARG: Besides the softness inherent in your work and the calm that elicits from your imagery, we are captivated by your choice of trees in your paintings and magnolia flowers in your prints. Why are these icons particularly special for you?

BD: Every artist finds a form that reflects his/her own voice. Mine just happens to be Nature. Goethe said that Nature is “the living garment of God” and that artists are a kind of priest who, in their creations, mimic in an effort to resolve the contradictions between the subjective and objective worlds. My interest is memories, and how we create them to connect these worlds.

Durham Closer

BRAD DURHAM: Closer, oil on canvas.

ARG: You mention in your artist statement that the marks of coloration on your paintings are intentionally preserved, but not intentionally made. Can you explain more about why you have you chosen to allow these marks to remain rather than cover them?

BD: I feel the maturity in my work reflects my understandings. I paint not to make a perfect painting but rather a painting that reflects an honesty. What I mean by this, is that I want the viewer to know that each of my paintings contains many false starts, ‘mistakes’, restarts; that I’m not trying to present a finished product but rather moments filled with observations and brushstrokes, some started and finished, some not. I want to show the process of thoughts and reflections – that connectedness is not a static moment but rather ever forming.

ARG: And what about your process in making your prints?  You refer to these as a “monoprint edition.”  What does this mean?

BD: A monoprint edition is a set of prints that contain similar imagery. However each print is uniquely hand worked for variations. With the MAGNOLIA series in the show, I created nine graphic icons of magnolias. Once a layer is created, I apply Japanese Kozo papers to the surface for the coloration.

BRAD DURHAM: Magnolia 5, monoprint edition.

BRAD DURHAM: Magnolia 5, monoprint edition.

ARG: Let’s end with just a few questions for fun. Do you listen to the radio or music when you work? If so, what is your favorite station, type of music?

BD: I’m trying to learn a new instrument, the guitar, so I’ve been listening to a lot of Al Petteway and Amy White’s music lately. At the end of the day when I’m cleaning up I generally listen to NPR to stay current with the issues

ARG: When not in your studio working, what do you do for fun?

BD: In Los Angeles I used to play the bag pipes but since moving here it’s been the Irish flute. There is something so simultaneously joyful and sad about Irish music that I find it compelling.

ARG: Would you care to tell us about what you might be thinking about for future exhibitions or new series?

BD: I’m in the middle of a big commission right now that is pretty specific and doesn’t allow for much exploration so while I’m working on these paintings I use the time to visualize.   As I have a show in June in Michigan, I suspect we’ll see how the visions take form.

ARG: Thanks, Brad. We’ve so enjoyed sharing a conversation over a “virtual dinner” with you and look forward to more time with you in the future.  Cheers!