Instructors at Large

Deborah Winiarski’s “Off the Grid”

  • August 4, 2015


Tremain Smith, Forest of Delight, 2014. Oil, wax and collage on panel, 24 x 30 in.  Photography:  Karen Mauch

Tremain Smith, Forest of Delight, 2014. Oil, wax and collage on panel, 24 x 30 in.
Photography: Karen Mauch

In her latest post for the online publication ProWax JournalDeborah Winiarski explores pattern in art.  She has selected two works from each of six artists, which all share an “affinity toward a reiteration of elements—whether geometrical, kaleidoscopic, musical, or textile in nature—as a starting point from which to sing their singular songs.” See and read more in “Off the Grid.”

Dawna Bemis, , 2014. Encaustic, encaustic monotypes, book pages, hand stitching, embroidery and pigment stick on copper on panel, 16 x 16 in. Photography: Jay York

Dawna Bemis, Antique Tile, 2014. Encaustic, encaustic monotypes, book pages, hand stitching, embroidery and pigment stick on copper on panel, 16 x 16 in. Photography: Jay York

Timothy J. Clark’s Recent Projects

  • August 3, 2015


Timothy J. Clark’s portrait of Chief Judge Sandra Lynch was unveiled at Boston’s Federal Courthouse on June 4, 2015, before dignitaries that included Supreme Court Justice Stephen Breyer and retired Justice David Souter. The portrait is now part of the Court’s permanent collection.

Timothy J. Clark, (The Honorable Sandra L. Lynch, Moakley Federal Courthouse, Boston, 2013–15. Oil, 36 x 42 in.

Timothy J. Clark, The Honorable Sandra L. Lynch, Moakley Federal Courthouse, Boston, 2013–15. Oil, 36 x 42 in.

In the Presence of Sacred Light: The Masterworks of Timothy J. Clark was Timothy J. Clark’s solo exhibition at the Loyola University Museum of Art (Chicago, IL), May 23—August 2, 2015.

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Timothy J. Clark, Nessun Dorma, Rome, 2013. Watercolor, 21 x 47 in.

“Timothy J. Clark’s Poetic Realism,” an article by Leo J. O’Donovan, S.J., appears in the current issue of America and includes five paintings that were part of Clark’s recent solo exhibition In the Presence of Sacred Light: The Masterworks of Timothy J. Clark.

Timothy J. Clark, (Saint John Baptist de la Salle, Saint Patrick’s, NY ., 2012. Watercolor, 26 x 14 in.

Timothy J. Clark, (Saint John Baptist de la Salle, Saint Patrick’s, NY ., 2012. Watercolor, 26 x 14 in.

“Sacred Light: The Art of Timothy J. Clark,” an article by Kelly Compton, appeared in the May/June issue of Fine Art Connoisseur and includes four of Clark’s recent watercolor paintings.

Timothy J. Clark, Central Synagogue, NYC, 2015. Watercolor, 17 x 21 in.

Timothy J. Clark, Central Synagogue, NYC, 2015. Watercolor, 17 x 21 in.

Summer Reading from Jerry Weiss

  • July 23, 2015


Paul Gauguin's , 1899. Oil on canvas, 28 3/4 x 37 in.

Paul Gauguin’s , 1899. Oil on canvas, 28 3/4 x 37 in.

Two articles by Jerry Weiss will appear in the September 2015 issue of The Artist’s Magazine. For his monthly “Master Class” column, Weiss writes about how Paul Gauguin’s “outrageous life found a measure of equanimity in art.” The article, “Extracting Calm from Chaos,”  is available to read here as a PDF (page 1 and page 2). Weiss’s second article, “An Insolent Kind of Magnificence,” is a richly illustrated extended review of the Metropolitan Museum’s current exhibition “Sargent: Portraits of Artists and Friends,” which you can read here (page 1, page 2, page 3, page 4, page 5, page 7, page 7, and page 8).

Richard Barnet at William Holman Gallery

  • July 23, 2015


Richard Barnet is one of sixteen artists exhibiting in William Homan Gallery’s Summer Group Show, which opened July 22 and continues through August 26, 2015.

Richard Barnet, Somewhat Symmetry, 1997. Watercolor and ink on paper, 22 x 30 in.

Richard Barnet, Somewhat Symmetry, 1997. Watercolor and ink on paper, 22 x 30 in.

Richard Barnet, Wall Work No. 1, 1998. Bonded iron, polyester, and fiberglass, 16 1/2 x 18 x 3 1/2 in.

Richard Barnet, Wall Work No. 1, 1998. Bonded iron, polyester, and fiberglass, 16 1/2 x 18 x 3 1/2 in.

 

Bill Behnken in Journal of the Print World

  • July 21, 2015


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Bill Behnken, Night Crossing—Noble and Serene. Aquatint.

Bill Behken’s Night Passage, Noble & Serene is featured on the front page of the July 2015 issue of the Journal of the Print World. “The highlight of my Staten Island Ferry passage across New York Harbor,” says Behken, “is the thrill of seeing the Statue of Liberty emerge…larger and larger to dominate that expansive space of water. Her stance of endurance and certitude inspires in me the knowledge that we have the freedom to think, speak and pursue our lives as we wish. She represents the nobility of our humanity.”