Curator Amalia Piccinini, a former league student, presents a selection of dark paintings by instructors Ronnie Landfield (above), Charles Hinman, and Peter Reginato (below), as well as her own work, in Going Into the Dark, The Painting Center (547 West 27th St. NYC), February 26–March 23, 2013.
Feb 11, 2013, 10:15 AM
The Price of Freedom is a twelve-foot, 1,800 pound bronze created by Greg Wyatt that was completed and installed at Arlington National Cemetery’s Visitors Center in 2010. The monument has been recently moved to an exterior portico while the center is upgraded. It’s been chosen “Photo of the Week” on the cemetery’s website.
Sherry Camhy’s silverpoint Innocence, currently on view in the ASL window, appears in Thea Burns’s The Luminous Trace, Drawing and Writing in Metalpoint. “In her carefully rendered full-length portraits,” writes Burns, “Camhy has explored the soft, atmospheric, essentially painterly gradations of tone that metalpoint can produce even in large-scale images.”
Nevermore, a group exhibition on view at On Stellar Rays (133 Orchard Street, NYC), February 2–March 10, 2013.
Group show: Long Island City Winter Show, Diego Salazar Art Gallery (21–25 44th Avenue, LIC), December 6, 2012–March 30, 2013.
Sherry Camhy and some artists in her classes will be exhibiting work in Postcards from the Edge at the Sikkema Jenkins & Co., January 25–January 27, 2013.
Richard Barnet’s Ellie’s Boat appears in Sideshow Nation, Sideshow Gallery (319 Bedford Ave, Brooklyn, NY), January 5–March 24, 2013.
Vortex, a recently completed painting, will be included in Sharon Sprung’s solo show at Gallery Henoch slated for the fall of 2013.
What accounts for an institution’s longevity? In New York City, real estate is key. Most histories of the Art Students League credit disaffected art students with the school’s founding, its democratic government, and communal character. This is fitting. Less recognized, however, is the role non-artists played in buying prime lots along Fifty-seventh Street and erecting a building…
In 2005, while installing a show of my sculpture at the University of Maine at Machias, I encountered an intriguing object. Flanking the entry to Powers Hall, home of the art department and gallery, was a bronze statue of heroic-scale: a masterful female figure, nude from the hips up, posed on one knee. While it…
