Show Dates: October 9 - October 29, 2015
Show Dates: October 9 - October 29, 2015
As an artist, I originally took photographs as source material for my paintings (photo-realistic watercolors), but eventually I abandoned painting altogether for photography.
I have photographed subjects as diverse as architectural details in Italy, Dachau Concentration Camp, the ritual sacrifice of sheep in Morocco, graveyards in New Orleans and transgender/nightlife personalities in NYC.
I've always been interested in art history and particularly came to admire the work of Edward Hopper, Eugene Atget, and Diane Arbus. Aside from taking pictures, I have also produced and directed award-winning documentary films about people living on the fringe of society.
From 2011-2014 I produced Gotham Burlesque, an off-Broadway burlesque/variety show. According to Time Out New York, Gotham Burlesque was one of the top nightlife shows in NYC.
How does one go from photography to documentary films to producing a burlesque show and then back to photography? I believe that each phase organically lead to the next. I feel that producing the films and the show made me look at photography differently. It made the work more theatrical and cinematic.
NYC transgender/nightlife personality Mona Marlowe is far along in the process of transformation. Like her idol Marilyn Monroe, she is very complex, striking and vulnerable. When photographing her in her single occupancy room located in Manhattan’s Theater District, it became evident how her entire existence is shaped by her need to express the woman she had always felt she was born to be. Great financial sacrifices and physical pain were and are being made to change genders. The photos were taken over several months.
I am also including Mona’s friends in this ongoing series. Early Ross and Mss Vee, like Mona, are NYC nightlife personalities, but unlike Mona (who is now a woman 24/7) they are like a blank canvas and use elaborate makeup and costumes to transform themselves.
For images of the Mona Series: http://www.garybeeber.com/#!mona-series/c135d
A visit to Gary Beeber’s website reveals several stunning photography series including: the Mona Series; the People series; the Landscape series; an Architectural series, as well as information about his award-winning documentary film series. Beeber’s photographs have been in solo and group shows, juried exhibitions, and major International art fairs, as well as in corporate collections throughout the United States.
His films have been featured in film festivals on Coney Island, in Seattle, Washington; and Dallas,Texas, where they received awards, as well as being broadcast on Danish Television with the Danish Broadcasting Corporation.
BEAUTY IS IN THE DETAILS
Beeber’s architectural work will be showcased in an Art Exhibition entitled ‘Beauty is in the Details’ at Dodd’s & Eder, Inc. in Sag Harbor, New York.
The exhibition was curated by Lisa Freedman for Zeiger Arts.
The show opens on Friday, September 25th, and will run through Sunday, November 1st. There will be an Opening Reception on Saturday, October 10th from 5-7pm.
Dodds & Eder, Inc. is located on 11 Bridge Street in Sag Harbor, New York.
Hours: Friday, Saturday, Monday: 10am-5pm; Sunday: 10am-4pm.
phone: 631-725-1175. For more information, visit their website at: http://doddsandeder.com/
Four months after having returned from her inspirational trip to Giverny, I asked Susan Marx (left) a few questions to determine if and how she has seen that this trip has continued to affect her painting today.
530 West 25th Street,
New York, NYC
Hours: 11am-6pm Tuesday-Saturday
features two of my stories:
(pages 6-7) and
September Rocks It
Out of the Park
in the Hamptons (pages 18-19)
I had been painting a long while before I spent that decisive summer in Monet’s garden. That was when Monet spoke to me. I think his spirit was always with me, but that is where he made himself known to me. And it was an epiphany. My paintings took on a new life.
I walked on his Japanese bridge and painted on his Japanese bridge and then, I went beyond it. I have always liked impressionism, but now it has become part of me. It is an expression of my soul. Late Monet carried forward with my emotional brushwork and my heart.
This presence is always with me. I love color. I see color everywhere. I am drawn to a specific spot for some indefinable reason. I set up my canvas and paints. And look and look and look. Something catches my eye. I load up my palette. Pick up a brush, holding it as a conductor would hold his baton, and begin.
At that point, I don’t speak to the canvas; instead the canvas speaks to me. Whose voice is that telling me what to put where? Has Monet’s psyche merged with mine? My feet are barefoot feeling the grass; I smell the flowers in front of me. I am transported. I paint but lose the concept of time. Fast, faster, passionately painting, furiously painting. I cannot get the colors down fast enough. Then suddenly I need air. I stop and stand back. The séance is over. I have returned to the present. I think Monet is looking down from above, smiling." -Susan Marx
Susan Marx wrote this passage on a painting trip to Giverny. Her first experience there was so transformational for her, she has returned several times since, each time being more transformational than the next.
Her most recent trip this past May was perhaps her most inspirational and prolific.. affecting her in ways mere words cannot express. She painted on Monet's bridge, but her work traveled beyond it.
On her first trips, Susan used a smaller format for her work. This time, her canvases are larger, 30" x 24", so the forms have more room to move and her brush is larger. She paints in acrylics, so that she can paint color against color quickly, not needing to wait for the paint to dry.
So it is through her words, photographs and her paintings, we will try to relay that experience for her.
As told by Susan Marx about her recent trip to France:
We were a group of 7 painters (plus some non painter spouses). Caroline Nuckholls is the Owner/Director of Art Colony Giverny. She is a painter who arranged the group (and gave instruction to those who wanted; I, of course, did not take instruction and did my own thing. I met her before when I painted in Giverny in 2008. Caroline arranged with the Monet Foundation, for the privilege of letting her artists paint in Monet's Garden before the tourists go in at 8:30am, when the gardeners work, and after the tourists leave at 5pm, every day except Saturday and Sunday. The Garden is open 7 days a week. And there are many tourists, individuals and busloads from all over the world. On a nice day, it is wall-to-wall people enjoying Monet's garden and water lily pond. The experience of painting in the garden with no one around, except for a few gardeners, is unbelievable. It is quiet, except for a cuckoo bird and frogs. Time to see the garden and nature in all its glory; time to commune with Monet directly. I often chose to paint from the Japanese bridge, where Monet also painted. Looking at the lily pond, I can place most of his paintings that I am so familiar with. Yes, there really are some red water lilies near the reflection of the willow tree.
One of the greatest compliments ever paid to me was by one of the gardeners (who see many painters painting here). He said "The Garden of Monsieur Monet, painted in the style of Susan."
It was difficult to choose where to put my easel. There were paintings to be painted everywhere I looked. Most often I chose to either paint the bridge (which is now emerald green, but which was white in most of Monet's paintings). Or the view of the pond and the reflection of the plants and trees, topped by water lilies.
What excites me most visually about this place is that you see three perspectives at the same time: the view across the pond from side to side; the view of the pond into the distance; PLUS the view up and down, with reflections into the water.
Just as Monet eliminated the horizon line, I did the same in my paintings of the pond to concentrate on the relation of one shape to another. And when I was on the bridge, which to my great luck had wisteria in bloom, I felt as if I was almost communicating with him. At least, I was seeing what he did, but painting with my own eyes.
During the day we painted in other spots in Giverny and in the town of Vetheuil, where Monet lived before he moved to Giverny. In Vetheuil, we went to see the house where Monet lived, and above it, the house with the turret, in which the painter Joan Mitchell (my other 'muse'), a second generation American Abstract Expressionist lived... years later. Then we crossed the river in a boat to paint the view of Vetheuil from Lavacourt.
Bottom left, the view of the Vetheuil from Lavacourt.
Right, Susan's painting: 'Vetheuil from Lavacourt', acrylic on canvas painting by Susan Marx.
On Saturday we went to the colorful weekly market in the nearby city of Vernon.
We visited Les Andelys, but, it was raining, so we could not paint. A very picturesque city with huge limestone cliffs. I have painted there before when I was on prior painting trips to Giverny in 2006 and 2008. I look at the paintings I painted then, and the work I painted this year and I am amazed at how I have grown as a painter.
More color, freer brushwork, stronger design...
On those trips, it was not possible to walk the Seine, as Monet used to do in the very early morning hours, to see the islands with their reflection in the river. But this time, I was able to walk to the Seine to see where he worked. You can see what he took from nature and what he decided not to take and what he decided to add from his own mind. Plus, we were able to sail on a replica of Monet's boat, from which he dropped anchor and painted.
With a guidebook in hand that marked where Monet painted his paintings, I walked to the spot where poplars in "Bend in the Epte" was painted.
One could reach the Seine in a ten minute walk from their backyard. It was not possible to get there in 2006 or 2008 because the fields and the road to get to the Seine were private property. They now belong to the town.
It is my belief that Monet built the Japanese bridge so that he could paint from the bridge. At least, in my opinion. It is the one spot where one can see the entire garden as in his famous Water Lilies paintings. That is why I painted from the bridge whenever I could. (sometimes other painters got there first). This pond is long (like a kidney bean) One gets the best view from the bridge.
Joan Mitchell (Susan's other 'muse'), purchased the house on top of the hill with the pointed roof years after Monet lived there.
ABOUT SUSAN MARX
Why am I a plein air painter? I think I have always been attracted to the light, the color, and the air outside. When I paint outside, the painting, the process and the result are more intense.
I always knew I wanted to be a painter. I have been painting since I was four. And I was always drawn to painting outside. I studied painting at Boston University where I received a BFA in painting, and when we had still life arrangements set up to paint in the studio, I would often turn my easel to the window to paint the Charles River instead.
I first attended a seminar in France in 2006, ‘Art Study Giverny', led by the late artist, Gale Bennett, where we painted in Monet’s Garden on Mondays when the garden was open to gardeners and painters and on other days of the week after the tourists left at 5 pm. During the day we painted in other places in town and in other neighboring cities in Normandy where Monet had painted. That experience was a changing point in my artistic career. I feel like I inherited part of Monet’s soul! And I have returned to spend time in Monet's garden several times since.
There is something about standing barefoot on the grass looking at and smelling what is in front of you. I often joke that the inspiration starts from my feet and then works itself up to my brain. I smell the colors of nature before I paint them. The act of painting is experiential, and I want to convey the emotions I experience while being out of doors, seeing the light and color and smelling the air on the finished canvas.
My art comes from my radical amazement at the visual world around me, and my need to turn that visual experience into paint. Nature is my starting point, but not my end result.
I observe nature very carefully and respond spontaneously to what I see and feel. I think of painting as drawing in color, relating warm colors and cool colors with each expressive paint-filled brushstroke. It’s my personal handwriting.
I call myself a modern Abstract Impressionist. I paint outside, en plein air, which lets me truly experience and feel the landscape I am painting. Working with acrylics allows me to record my color impressions quickly, with immediacy. I am abstract in that my goal is not to reproduce what is in front of me, but to turn nature into something of my own: my vision, my paint-filled brushstrokes, my emotions. I don’t paint flowers to paint flowers. I paint flowers to paint color.
Timbered Houses in Rouen
Susan is represented by Agora Gallery and Ashok Jain Gallery in NYC and by Veranda Fine Art Gallery in Fair Haven, NJ.
For more information, or to purchase her work, call or visit any of her galleries:
AGORA GALLERY 530 West 25th Street, NYCHours: 11am-6pm Tuesday-Saturday; 212.226.4151
ASHOK JAIN GALLERY 58 Hester Street, NYCHours: Wed-Sun: 12-6pm or by appointment. 212.969.9660
The Veranda Fine Art Gallery
763 River Rd., Fair Haven, NJ 07704
Both Agora Gallery and Ashok Jain Gallery have Marx's paintings listed for sale on Amazon.com.
Marx's paintings may also be purchased through her listings on Agora's gallery website: Susan Marx on ArtMine.
Susan Marx will be in a show at Agora Gallery entitled Divergent Realities
Exhibition Dates: October 9 - October 29, 2015
Opening Reception: Thursday, October 15, 2015, 6-8pm
Credits: photographs by Susan Marx.
Painting Above Left: Flowers in Blue, 30" x 24", acrylic on canvas
Bottom Left: Floral Abstract, 30" x 24" , acrylic on canvas
Technorati Tags: Abstract Impressionism, art, bridge, color, Expressionist, France, garden, Giverny, Impressionism, Impressionism, Japanese, Joan Mitchell, Monet, nature, painting, pond, Seine, Vetheuil, wisteria
SAG HARBOR ARTIST, TED ASNIS
Debuts an Exhibition of New Paintings,
TED ASNIS ABSTRACTS
at Bobby Van's Steakhouse in Bridgehampton, New York
SAG HARBOR, NY – July 6, 2015 Sag Harbor artist, Ted Asnis, proudly presents a new series of paintings in an Art Exhibition entitled ‘Ted Asnis Abstracts’ at Bobby Van's Steakhouse in Bridgehampton, New York.
The show opened in June and will run through Friday, Labor Day, September 7th 2015. Patrons of the popular Hampton eatery have had the benefit of enjoying Asnis’s paintings there over the years. But, followers of Ted’s work will definitely notice an exciting new direction in the artists style through this new exhibition of work.
Long revered for his traditional open landscapes depicting beloved Hamptons beach scenes (as seen left) and farmlands along with beautiful architectural renditions of local barns, boats and farmhouses, Asnis’s paintings have a history of capturing the spirit, beauty and light of Long Island’s East End.
His latest series of paintings reflects a bold, new contemporary approach with the artist’s current interest in developing abstract work. In so doing, he has also developed a new technique of applying rich layers of paint with short, vivid strokes.
Viewers will see many of the same local landscapes, often combining his earlier techniques with the new.
The result is a captivating and refreshing series of canvases illustrating beaches, bays and sunsets in a palette of vibrant colors.
There is also a series of Abstract paintings that are simply filled with those richly layered paint strokes.
The new paintings are larger in scale, commanding a greater presence and often incorporating Asnis’s signature use of space, movement and perspective
ABOUT TED ASNIS: Born in Brooklyn and raised in the Bronx, Ted Asnis attended the University of Florida, where he earned a B.A. degree in Architecture. After completing post graduate work at NYSID (New York School of Interior Design), he went on to become one of the top architectural illustrators in the field. His work for Edward Durell Stone, Carleton Varney and other major designers appeared in House Beautiful, House & Garden, The New York Times and has graced the covers of Interior Design Magazine and other major design publications.
For more than 25 years, Ted ran his own commercial office design firm in NYC doing work for Simon & Schuster, United Technologies and Paramount Pictures, while continuing to exhibit his artwork. His work has appeared in solo and group exhibitions throughout Long Island, where it has often been featured and awarded for his masterful technique.
Ted’s art has graced the covers of numerous Dan's Papers and was voted Best Dan Cover of the Year in 2012.
His paintings hang in many private collections throughout the Hamptons and other part of the United States. A resident of Sag Harbor, New York for over 25 years, the artist continues to take his inspiration from the beauty surrounding him on the East End of Long Island.
ABOUT THE EXHIBTION: The exhibition “Ted Asnis Abstracts” provides a perfect complement to the three major international Fine Art Fairs here in the Hamptons this July. Fair goers may enjoy a relaxing and delicious meal at Bobby Van’s while taking in new works by a revered Hamptons artist depicting a contermporary version of local landscapes. It wouldn’t be the first time a local artist was discovered in an area long well known for its’ history of fine artists who have made the East End of Long Island their home and inspiration.
ABOUT BOBBY VANS: Founded in 1969, Bobby Van’s was originally renowned as the gathering place for such literary giants as James Jones and John Knowles. It is even rumored that Truman Capote finished his novel In Cold Blood in the original Bobby Van’s. This legacy can be seen today in the art and photographs decorating the dining room.
The Bridgehampton location is open seven days a week for lunch and dinner for the laid back dining experience that has delighted since the days when Bobby Van himself serenaded guests.
BOBBY VAN’S RESTAURANT,2393 Montauk Highway, Bridgehampton, NY 11932 Phone: (631) 537-0590: firstname.lastname@example.org
or email email@example.com.
Besides Bobby Van's, the artists’ work may be seen at his Sag Harbor studio by appointment.
Lisa Freedman, The Art Marketer: firstname.lastname@example.org; 914.907.9842.
The Art Marketer has an Amazing opportunity to Showcase
the work of One Lucky Artist
in a Solo Art Exhibition
on the Walls of a
Major, Leading, High-End, National, Retail Brand.
The Theme of the show is 'Dreaming'
and we are looking for Large Works with a Contemporary Edge
for an August 2015 show.
Preference for Long Island Artists
who will help draw a local following
to this Long Island location (Suffolk County).
Please message or email me with
your website links/images/info for more details:
(no phone calls, please!)
OMBIASY PUBLIC RELATIONS & WINE TOURS
is gearing up for their first major tour of the Season
Germany East 2015 - Introduction
Experience an amazing journey of Wine and Art
Germany East 2015 - INTRODUCTION
WINE and ART
GERMANY’S UNDISCOVERED WINE REGIONS & WORLD-RENOWNED ART CENTERS :
The Eastern Tour
10 day immersion in Wine, Culture, The Arts
June 11, 2015 – June 20, 2015
This tour allows wine lovers and aficionados of the arts to experience what the statement “wine is a form of art” entails. Participants will live the profound relationship between wine, music, dance, and visual arts by visiting Germany’s beautiful, lesser known wine regions, and the region which is the cradle of German culture, and intellectual thinking.
Meet winemakers who embody the "wine and art" approach right at their wineries, and attend three world-class concert-opera- and ballet performances in East-and Middle Germany.
This tour will tickle all of your senses and emotions.
Here's What to Expect
Saale-Unstrut, the northernmost German wine region and former GDR territory. It is situated on the hillsides lining the Saale and Unstrut rivers and produces racy white wines from many white grape varieties;
Sachsen, also located in the former GDR, is the easternmost German wine region and extends some 35 miles north and south of Dresden along the Elbe river. This region tickles all your senses with its unique voluptuous baroque architecture, a rich history, its wealth of art, and love of all the good things in life;
Franken with its Bavarian charm and gorgeous, crisp, crystal clear wines from their signature grape Silvaner;
Württemberg, Germany’s premier red wine region with hearty, bold wines made from grapes like Lemberger (Blaufränkisch in Austria), and Trollinger. This is the region where wine is ingrained in daily life like nowhere else. The Württemberg region has the highest per capita consumption of wine in Germany;
Hessische Bergstrasse, the smallest wine region in Germany with quaint little towns and villages right at the doorsteps of Frankfurt.
For an even more detailed itinerary of this tour, click on: Schiller Wine Blog.
A Brief History
Germany with its roughly 250,000 acres under vine belongs today to one of the smaller wine producing countries in the world. However, viticulture in Germany has a long tradition, going back to Roman times 2,000 years ago.
In the 15th century, the area under vine was four times larger than it is today. Wars, subsequent loss of territory, diseases, overproduction, and competition from beer brewing resulted in land turned over to other agricultural uses.
In the 19th century, concentration on terroir and technological progress fostered a tremendous improvement of quality and the prestige of German wines, in particular from the Mosel, Rheingau, and Pfalz regions, resulting in prices above those for first growth Bordeaux wines.
Today, all thirteen wine regions in Germany produce outstanding wines. However, the two regions in the former GDR had a lot of catching up to do. During the communist times from 1945 until reunification in 1989, wine production was nationalized, and winemaking took place in huge VEB (volkseigener Betrieb / company owned by the people) wineries. The output, the bottle count was imposed on the VEB by the State, and therefore quality could not play a major role. The winemaking process was deprived of modern farming and cellar techniques. The majority of wine produced was for the consumption of the communist party members.
After the iron curtain came down, family wineries were founded, and the winemakers pursued quality with a vengeance. Some of Germany’s finest Pinot Blanc and Pinot Gris today come from the Saale-Unstrut and Sachsen regions.
This will be an unforgettable journey discovering the German wine country off the beaten tourist track: the inside guide to top German wines, history and extraordinary cultural highlights!
For more more information please visit: https://ombiasypr.com/
Or email: email@example.com
On Facebook: Ombiasy PR & Wine Tours
Schiller-Wine Blog: http://schiller-wine.blogspot.de/
Technorati Tags: art, culinary, Europe, German, Germany, Gewandhaus Leipzig; Semperopera, international, opera, passion, PInot Noir, restaurants, Rieslings, Stuttgart Ballet., tastings, theater, travel, vineyards, wine, wine pairings, wine talks, wine tours, wineries
Show Dates: May 19 - June 9, 2015