TÜRK RESMİNİN KIYMETLİ SANATÇILARINDAN
EDİS TEZEL’İN SON DÖNEM RESİMLERİ 6 MART’TA GALERİ EKSEN’DE
Ressam Edis Tezel’in 24. kişisel sergisi Galeri Eksen’de, 6 Mart Perşembe günü saat 18.00’da açılacak ve 22 Mart Cumartesi saat 19.00’a kadar izlenebilecek…
Edis Tezel, İstanbul Devlet Güzel Sanatlar Akademisi’nde Şeref Akdik, Cemal Tollu ve Bedri Rahmi Eyüboğlu atölyelerinde 4 yıl öğrenim gördükten sonra ilk sergisini 1965’te İstanbul’da
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NEW YORK CITY– FOR IMMEDIATE RELEASE BETH CARTER DANCING WITH MORPHEUS SOLO EXHIBITION February 6 – March 8, 2014 OPENING RECEPTION ON THURSDAY, FEBRUARY 6, 6-8PM (RSVP REQUIRED)
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| BERTRAND DELACROIX GALLERY presents Dancing With Morpheus, Beth Carter’s upcoming solo exhibition. The collection of new works will be Carter’s first solo exhibition at the gallery, although her work has been featured in numerous BDG group shows in the past. Carter, a native of Bristol, England, is known for her fantastical sculptures and for her intricately detailed drawings on paper. This show will introduce ten new sculptures and several new drawings.
Carter first crafts her sculptures out of clay or wax and subsequently casts them into limited edition works in bronze or resin. Her work is distinct in that while it is deeply rooted in mythology, it plays with classical precedents to create a new genre – one that is steeped in fantasy, melancholy and whimsy. The artist categorizes her works as “magical realism.” There is something captivating and peculiar about her enchanting minotaurs, winged creatures and hybrid forms. Her unusual sculptures are derived deep in her subconscious; the artist emphasizes that her works emerge from an internal, contemplative place. This unfiltered emotion is clear in her striking works. Perhaps Carter’s most well known piece is the Reading Minotaur, a vulnerable half man, half bull creature naked and hunched over a tiny gold book. This tender piece encapsulates many of the larger themes that run through her entire body of work. Her art often explores the nature of duality and opposition; whether it is the relationship between beasts and humankind, vulnerability and power or the real and the imagined, Carter cleverly juxtaposes conflicting ideas that the viewer, alone, must reconcile. The distinct sense of melancholy present in Carter’s art allows her creatures to be at once physically imposing and emotionally vulnerable. Her thoughtful drawings in charcoal and conté demonstrate this same interior drive to explore sadness and the subconscious. Carter’s unique works create an alternate reality – one that invites the viewer to partake in a journey to a strange, dreamlike world where the lines between man and beast, reality and fantasy and the possible and impossible are no longer clear. Also included in the exhibition are two whimsical animation boxes that Carter created in collaboration with her husband, digital producer Stuart Mitchell. Beth Carter received her degree in Fine Art from Sunderland University in the United Kingdom. In 1995, she was awarded 1st prize in the Northern Graduate Show ‘95 at The Royal College of Art, London. Afterwards, she traveled to Sri Lanka, India, New Zealand, Mexico, Gambia, Kenya and Tanzania to study mythological sculpture. Her work has been shown in the US and abroad and appears in private collections throughout Europe, Asia and the US. She has temporarily relocated from the UK to Brooklyn, NY to prepare for this exhibition; she will attend the reception tomorrow, February 6. View the online exhibition catalog. Images above are Flying Figure (Bronze, 60″ x 36″ x 24″), I Want To Do Right But Not Right Now (Charcoal on Paper, 40″ x 46″) and Fool (Bronze, 18½” x 6½” x 5½”). For further information, prices and photographic material please contact Elizabeth Thompson at 212-627-4444 or email info@bdgny.com. Gallery hours are Tuesday through Saturday from 10:00 am to 6:00 pm. |
30 x 30: A 30th – Anniversary Exhibition and Celebration
January 30 – February 28, 2014
Gallery Hours: Monday – Saturday, 10am – 6pm
Caldwell Snyder Gallery
341 Sutter Street
San Francisco, CA 94108
Tel. 415-392-2299
Caldwell Snyder Gallery is pleased to announce its 30th anniversary and upcoming celebration. Founded by Oliver Caldwell and Susan Snyder in San Francisco in 1983, the gallery has grown from its early
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FOR IMMEDIATE RELEASE –NEW YORK CITY JOSEPH ADOLPHE MESSAGES, MEMORIES AND DREAMS MARCH 27 – APRIL 26, 2014 Opening Reception on Thursday, March 27, 6-8pm (RSVP REQUIRED)
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Canadian artist JOSEPH ADOLPHE returns to BERTRAND DELACROIX GALLERY with a highly anticipated solo exhibition of new work entitled Messages, Memories and Dreams. Adolphe is a versatile contemporary painter who succeeds in portraying subjects ranging from sensual nudes and large, blooming buds to charging bulls and regal horses. Adolphe’s second solo exhibition at BDG will introduce an all new series of oil on canvas pieces, including new florals, and powerful animals as well as new paintings wherein he ambitiously attempts to describe the most profound moments in his life in works he refers to as ‘locutions’. Several of the works continue his recent exploration into the possibilities created through the use of gold leaf. With the addition of this bold effect, he creates stunning visual masterpieces that are strong in composition and subject while remaining aesthetically enticing. Adolphe’s works have an Old Master/Expressionist quality with rich, visible brushstrokes and a clear understanding of motion; however, he endows his work with an undeniable modernity and relevancy to today’s rapidly changing world. His works are fraught not only with frenetic movement and energy but with a palpable sense of emotion and drama. He combines strong, defined forms bursting with life with loosely structured backgrounds that often border on abstraction. His large flowers, ripe fruits and wild animals are often the only clear images amongst a frenzied world of color and confusion. Whether he depicts a raging bull or a sensitive nude, there is a sense of vulnerability and universal anxiety about the world in his works. His works frequently juxtapose strength and uncertainty thus giving his subjects a feeling of resilience and perseverance in the face of the unknown. On his work, the artist states: All of my paintings, whatever the subject matter have at their core the same content. I’m always trying to capture in paint energy, enthusiasm and an ardent sense of hope. These characteristics embody the essence of those people who I have come to admire and try to emulate. Born in 1968 in Alberta, Canada, Adolphe moved to New York City in 1992 to attend the School of Visual Arts from which he received his MFA in 1994. His paintings have been featured in over forty exhibitions since 1998 throughout the United States and internationally. He lives with his wife and children in New Haven, Connecticut and is a professor in the Department of Art & Design at St. John’s University in New York City. He will attend the opening reception on March 27. Images above are Ripe I (Oil on Canvas, 62″ x 48″), Hothouse Blossum No. 3 (Oil on Canvas, 70″ x 80″) and Dresssage I (Oil on Canvas, 55″ x 65″). For further information, prices and photographic material please contact Elizabeth Thompson at 212-627-4444 or email info@bdgny.com. Gallery hours are Tuesday through Saturday from 10:00 am to 6:00 pm. |
Düş Yolcusu Sanat Durağı, Artin Demirci Resim Sergisi
1 – 14 Mart 2014
Açılış kokteyl 1 Mart 2014 Cumartesi, saat 17:00 – 20:00 arası
Bağdat Cad. Plaj Yolu. Haldun Taner Sok. No:16/B Caddebostan
0216 386 99 03
| Ayşegül Açıkgöz – Tuna Uysal 13 Şubat – 20 Mart 2014 Ayşegül Açıkgöz ve Tuna Uysal’ın çalışmaları “Hiçbir yer” başlıklı sergi ile 13 Şubat – 20 Mart 2014 tarihleri arasında Bergsen & Bergsen Galeri’de olacak. Öznur Güzel Karasu’nun küratörlüğünde düzenlenen sergideki çalışmalarda zamandan ve işlevinden soyutlanan mekanlar ve insanlar durağan bir düzlemde ele alınıyor. “Hiçbir yer” “Mekan” İnsan mağaradan çıkıp yaşam alanlarını kurgulamaya başladığı andan itibaren doğadan kopmaya başlamış, mimari alanlar yüzyıllar boyunca hakim ideolojik yapının güç gösterisi olarak birer temsil alanı haline gelmiştir. Kişi, ihtiyaçlardan ziyade temsilin ön plana çıktığı mekansal boyutlarla şekillenen bir yaşama gittikçe daha fazla adapte olmuştur. Oysa aslolan insanın kurguya göre yaşaması değil, çevresini yaşamın gereklerine göre düzenleyebilmesidir. “Araf” “Hiçbir yer” sergisi araftaki insanın “sıradan” yaşamı üzerinedir. Sergideki çalışmalarda, bir tür ütopik yaşam birimi söz konusudur; mekanlar “hakiki”, insanlar ise “kurgu”dur çalışmaların tümünde. Sadece gece ve gündüz ile belirlenen zamansal işaretlerle örülü her bir fotoğraf durağan yapılarıyla günümüz insanının yaratıcılık ve işlevsellikten uzak, müdahale etmeyen yapısına da vurgu yapmaktadır. “Boşluk” Ayşegül Açıkgöz’ün fotoğraflarındaki mekanlar ve nesneler Anadolu’daki sıradan insanın yaşama ve çalışma alanları, yani işlevsel ve tamamen ihtiyaca göre inşa edilmiş yapılardır. Bugün yerel yönetim tarafından yok edilen bu kulübeler, yerlerini birbirinin kopyası prefabriklere bırakmışlardır. Kurguyu dışlayan bu fotoğraflardaki kompozisyonlar tamamen burada yaşayan insanların gündelik ihtiyaçları doğrultusunda şekillenmiş, sanatçı ise sadece kadrajı belirlemiştir. İnsandan ve zamandan sıyrılan mekanlar, bulundukları ortamdan ve bakış açısından dolayı tanımsız bir haldedir. Açıkgöz’ün çalışmaları izleyiciyi birbirine benzer imgelerle karşılaştırıyor. Bu tekrar hali, izleyiciyi sonsuzluk hissiyle örülü bir alanda imlenen mekanların duygusal boyutundan uzaklaştırıyor ve statik bir bakış açısı yaratıyor. Tamamen ihtiyaçlar doğrultusunda eklektik bir yapı olarak gerçekleştirilen “Kulübeler”, bulundukları ortamından ve bakış açısından dolayı tanımsızdırlar. Mesafelerin belirlenmesi için gerekli mekansal koordinatların yokluğunun hissedildiği seride doğal yaşamın izleri vardır. Video çalışmasında ise sanatçı bakışını artık tamamen doğaya çevirmiştir. “Karanlık” Fiziksel anlamda durağan bir yapıya sahip olan mekan, Tuna Uysal’ın fotoğraflarında strüktürel bir yapıdan çok, sınırları sanatçı tarafından belirlenen boşluklarla tarifleniyor. Bakış açısının sürekli değiştiği fotoğraf serisi, mekanlara dair farklı ayrıntıları bir araya getirerek toplu bir mekan izlenimi oluşturuyorlar. Burada izleyici bakışını farklı çalışmalara yönlendirse de zamanın sadece karanlıkla işaretlendiği bir ortak nokta sayesinde kendisini aynı yerde buluyor. Uysal’ın fotoğraflarında görülen insanlar ise herhangi bir zaman diliminden zihinde kalan donuk izler gibi karşımızda duruyorlar. Öznur Güzel Karasu ****************************************************** “NOWHERE” Exhibition entitled “Nowhere” by Ayşegül Açıkgöz and Tuna Uysal will be available at Bergsen & Bergsen Gallery between February 13th and March 20th 2014. Conducted at the curatorship of Öznür Güzel Karasu, the exhibition consists of works of spaces and people that are abstracted from time and function, upon a static plane. NOWHERE Nature rejects monotony. Creativity, functionality and diversity inhabit that which is natural. Merging with nature is fundamental for transcending the boundaries of formal creation. PLACE PURGATORY “Nowhere” is concerned with the “mundane” life of the man in the purgatory. The works at the exhibition consist of a type of utopian unit of life; in the entirety of the works, locations are “real” whereas people are “fictional”. Woven with signs that denote only to day and night, each photograph emphasises the contemporary individual’s non-intervening structure that is far from creativity and functionality. VOID Places and objects in Ayşegül Açıkgöz’s photographs are the lives and working spaces of Anatolian people, that is, functional constructs that are structured in accordance to needs. Now demolished by the local government, these sheds were replaced by undistinguishable prefabricated huts. The composition in these photographs that deny setting, are formed completely in accordance to the daily needs of the inhabitants while the artist merely decided upon the frame. Having shed people and time, places become indefinable in terms of their location and perspective. Açıkgöz’s works confronts the spectator with images that resemble one another. This state of repetition distances the spectator from the emotional dimension woven with a sense of infinity and creates a static perspective. Having been eclectically built solely according to necessities, “Sheds” are undefined due to their location and their perspective. In the series where the lack of necessary spatial coordinates is clearly felt, there are traces of natural life. In the video the artist turns her gaze towards nature completely. DARKNESS In possession of a physically stagnant structure, place in Tuna Uysal’s photographs are defined in voids whose boundaries are designated by the artist, rather than a predesignated structure. The series, where the point of view changes constantly, creates the impression of space through the combination of details pertaining to space. Although the spectator darts her glance to other works, due to a common point that is marked only by darkness, one finds oneself at the same spot. People in Uysal’s photographs stand before us as if they were dim traces of any period of time. Öznur Güzel Karasu Bergsen & Bergsen Galeri |
