The world is composed of endless numbers of disparate random objects. A quick scan of our homes shows that we see hundreds of things that independently crossed our thresholds. Somehow all of these strange things accumulated over years and decades find their place, their position within the group. Randomness oddly begets an order and within that order its attending associations. Opposites attract.
We seek the thing that connects one object to the next. Our objects are like our friends and lovers with which we share opinions and interests. We are united in moments where we overlap and find solace in our commonalities.
Peggi Pugh, Kit Callahan, Susan Beallor-Snyder, Karen Fitzgerald, Susan Knight, Anne Finkelstein, and Francine Perlman maintain discrete studio practices, none of them working with the same intentionality nor the same material or process. Yet, as we keep looking at their work we begin to see moments of overlap. A curve here, a repetition there reveals itself, and slowly we link one aspect or part to the next.
A nacreous tondo finds an ally in opalescent light-filled photographs. Massive manila rope sculptures dance across the wall with the same verve and airiness we find in thoughtful paper constructions whose intricacies respond in kind to the build-up of marks in a floating ellipse. The sparsest of marks or materials creating a mass that is weightless. Lines building to form planes of soft color share architectonic structure with photomontages whose repeated angles morph into similar kinds of curves and whose reflections share an affinity with other luminous atmospheres.
“—but look and see whether there is anything common to all.—For if you look at them you will not see something that is common to all, but similarities, relationships, and a whole series at that. To repeat: don’t think, but look!” If we heed Wittgenstein’s tenet and look, really look, carefully, and hard, we may find what is common as quickly as we dismiss what is not. Looking is hard work, but in the end it pays off. It takes a lot of time to really see.
About the Artists
Kit Callahan holds a B.A. and M.F.A. from Central and Chelsea art schools, which are now both part of University of the Arts, London. For many years her paintings, drawings and etchings were in a horizontal format divided into a rectangular grid. When 9-11 happened she was moving into a studio in Long Island City and discovered a large roll of paper that she had dragged from London to Ireland, back to London, to New York and now Long Island City. It had never been used. The roll of paper prompted a series of large graphite drawings, which for some inexplicable reason became ellipses floating in a horizontal rectangle. Ellipses have always held great appeal. The ellipse obsession continued in small etchings and drawings. Presently, she is engaged with large ellipse drawings and smaller non-elliptical 8”x10”paintings.
Anne Finkelstein, a native of New York continues to live and have a studio here. Her work is primarily digital photographic montage or painting of the city landscape. Combining disparate view-points she creates dynamic geometric compositions. Often, the digitally manipulated transition of images creates a unique but still familiar landscape full of asymmetrical and symmetrical elements with juxtaposed shapes that echo the forces, change and movement within the current city structural landscape. Finkelstein has had numerous solo and group shows throughout the United States including the Denise Bibro Fine Art, FXFowle Gallery, Saint Peters Church at Citicorp, the LA Center for Digital Art, the Museum at FIT and the New York Transit Museum. Her work is included in private and public corporate collections, including the Metropolitan Transit Authority and The David Lawrence Convention Center. She teaches at Parsons and FIT and runs AJ & J Design, a graphic design company.
Karen Fitzgerald’s work is actively exhibited in the United States. The Queens Museum of Art, Islip Art Museum, Rahr-West Museum, Madison Art Museum, Milwaukee Art Museum, Milwaukee Institute of Art & Design, the University of Arizona – Tucson and the United Nations in NY have featured her work in their active exhibition schedules. She received grants from the Queens Community Arts Fund, the Greenwall Foundation and the Women’s Studio Workshop. Her work is in many private and public collections, including the Spencer Collection of the New York Public Library, Related Group, The Four Seasons Hotel, the Rienhart Collection of Germany, Montefiore Medical Center, NYU Langone Medical Center, and Memorial Sloan Kettering Cancer Center, NYC. She is a master teaching artist, providing consulting services across the educational spectrum. Her studio is in Northern Long Island City; she lives with her family in Woodside, NY, and gardens in central Wisconsin.
Susan Knight Omaha-based installation artist, Susan Knight, is a Michigan native. She devotes exclusive attention to the stories and science of the natural world by building
constructions with her hand cut materials. She has exhibited nationally and internationally. Her work was featured in SciArt Magazine, Sculpture Magazine, the Smithsonian Magazine and appears in the book, Art Inspired by Science: Imagining the Natural World, by Robert Louis Chianese. Knight is a recipient of a Nebraska Arts Council Individual Artist Fellowship. She was awarded art-science residencies at AS IF Center, NC, The Colorado Art Ranch and The Nature Conservancy, Hayden, CO, and residencies at Ragdale
Foundation, Lake Forest, IL, and the International School of Art, Montecastello di Vibio, Italy. She earned a BFA from Saint Mary’s College, Notre Dame, IN, and attended The University of Notre Dame, The Glassell School of Art, Houston, and The School of the Chicago Art Institute.
Francine Perlman exhibits works on paper, sculpture, and large conceptual constructions. Her outdoor sculptures in The Farm Project, Garrison, NY, were featured in press coverage in both 2014 and 2015, and she will participate again in 2018. During 2012, she made 300 tiny works for Alternet, by Carla Rae Johnson, a collaboration with 75 other artists. At the Fine Arts Gallery, Westchester Community College, she was granted that venue’s first solo exhibition. She has had solo shows at the historic Eldridge Street Synagogue and several other non-gallery settings. Her work has appeared in many group exhibitions in the US, including the Hammond Museum, Schweinfurth Memorial Art Center, the National Jewish Museum, Snug Harbor Cultural Center, the Albright Knox Museum, Ceres Gallery, and Sculptors Alliance at Governor’s Island. Her work appeared in the 2004 Bonn Biennial, Bonn, Germany, in two separate shows at the Frauen Museum, and was acquired by the museum.
Peggi Pugh takes a piece of curved glass and gives it power. She is a photographer who uses her camera, computer and software to create visual art.
Born in 1950 in Freeport, New York, she studied at the School of Visual Arts, International Center for Photography in New York City and The Art Institute in Chicago.
Ms. Pugh”s work spans more than three decades. It includes photo essays on Belmont Race Track, the Staten Island Ferry, Fulton Street Fish Market as well as many cultural and social phenomenon. Recently she began refocusing her attention on nature and the physical environment.
Born and raised on the Upper West Side of Manhattan, Susan Beallor-Snyder’s creative, inquisitive nature led her to explore different mediums over the course of her life. As a young artist, her focus was black and white street photography. Then, inspired by finding a great aunt’s collection of beads, she pursued a successful career as a classical goldsmith creating striking sculptural pieces.
Those hand-fabricated pieces led Beallor-Snyder to her current focus of large-
scale sustainable natural manila rope forms. Using a free-weaving technique to create one-of-a-kind sculptures, she infuses varying weights of the rope with thought- provoking depth and profound emotion. Beallor-Snyder’s inspirations come from the natural world. Her sought-after work is in corporate and private collections throughout the U.S. In addition to working as an artist, Beallor-Snyder has a background in film and television production and a passion for natural foods and holistic living.
Art and nature have always gone hand in hand. It is hard to think of one without the other. In recognition of this, our first exhibition commences on the conclusion of the one-hundredth anniversary of the Scottish mathematical biologist and classicist, Sir D’Arcy Wentworth Thompson’s On Growth and Form. “… if we consider the wonders of a limestone cavern which a filtering stream has filled with stalactites, we soon perceive that … we have begun with an initial system of very slight complexity, whose structure in no way foreshadowed the result, and whose comparatively simple intrinsic forces only play their part by complex interaction with the equally simple forces of the surrounding medium.”
Sometimes in life we seek excitement, but sometimes we seek stillness. And what exactly is stillness? We can find stillness in nature as in a landscape, or in a selection of nature that is brought indoors as in a flower arrangement. Or we can also find stillness in abstraction. Each of the twenty artists in this exhibition approaches the notion of stillness in their own individual manner. Three distinct categories emerge: landscape, still-life, and abstraction. Interestingly, absent in almost all cases is the presence of a figure.
Curated by David Masello: A NY Artist’s Circle online exhibit embracing “abstract realism,” the notion being that an artist depicts something that is decidedly realistic while simultaneously embracing abstractin to articulate the object or figure or narrative. Featuring artists,
JANET CULBERTSON, BARBARA LUBLINER, HELENE MUKHTAR, SUSAN BEALLOR SNYDER & APRIL VOLLMER
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