Download - Rabble-Rousing Acts
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Jeremy G Bell . com • Flavia Berindoague • Aida PinhasRonit Levin Delgado • Tom Eshchar • April Zanne Johnson Jamie Levine • Graham Preston • Chen Serfaty • Lior Shvil Aneta Wegrzyn •Alizarin Weissberg • Tatiana Zank
March 29 - May 4, 2013
73 C Pine Street
Montclair, NJ 07042
973.746.8737
73seegallery.com
73 See gallery is proud to present 13 individual rabble-rousing
explorations and transformations of ubiquitous iconography.
Juxtaposition’s between the grotesque and conceptual beauty
to reveal and expand iconic associations.
Artists:
Jeremy G Bell . com • Flavia Berindoague • Aida Pinhas
Ronit Levin Delgado • Tom Eshchar • April Zanne Johnson
Jamie Levine • Graham Preston • Chen Serfaty • Lior Shvil Aneta Wegrzyn
•Alizarin Weissberg • Tatiana Zank
Curated by Ronit Levin Delgado and Jeremy G Bell.comMontclair State University Master of Fine Art Studentsselected works from fellow students & peers.
Advisement by Mary Z.
Please contact the Gallery by phone at 973.746.8737 or
email [email protected] with yor inquiries.
Rabble-Rousing Acts
A Lost Diamond of the Patriarchial Soceity
Charcoal, acrylic, sharpie, polyurethane, glitter, scented wax on wood
31x31x3in
2013
$2500
Jeremey G Bell.com
I Jeremy Gary Bell was born to Kelly Glover and Gary Bell on
September 29th 1985. Out of the entire existence of human history one could
say I was born relatively late in the game. It is now 2012 and I am an adult.
What have I learned and more importantly, what does it all mean. With each
experience I have gained knowledge and learned many lessons however, even
with all of the “bought lessons”, I would be a fool to think I knew everything. Yes
there are some things I can say I know for certain; 1+1=2. Things of this nature
are universal truths. But other things such as my name were told to me. How
can one be for certain that any knowledge gained from man is indeed true?
Anything in the past can never be known for certain, it is merely believed.
Homage to Missing Childrenmixed media
8’ x 2’
2013
$4,000
Flavia Berindoague
The occurrence of violence in our everyday life leads me to think on
possibilities and strategies of art to represent tragedies and translate the
inhuman, violent and enlargement of fear of this era. There are myriad forms of
violence, but what interest to me is the way that these elements become theme,
literary form, and simultaneously, ways to question reality through art. In this way,
I become a collector of stories. As if searching through the debris of dreams
or nightmares, I try to pick up the pieces of a story, rescuing it from oblivion to
reveal the obscure side of the humanity, where shock, trauma, and forgetting are
part of everyday life, and malignancy becomes banal. My interest is not simply
the act of remembrance, but rather the memory of forgetfulness.
Using public archives, I search for information about missing people in
Brazil. The mysterious circumstances of disappearance, the traumas inflicted on
the families, and the uncertainty of the facts launch me into an imaginary world.
Like a detective gathering the pieces of a puzzle, I want to know what happened
to the girl who wore a red dress and disappeared after she left home to buy
bread. Where was the boy who was last seen riding a bicycle? What happened
to the girl who was playing in front of her house and never returned to it? The
only answers I find are in my imagination. I begin creating stories because we
are not certain of anything. There is no proof. The outcomes are uncertain and I
am “forced” to use fiction. The only truths are the disappearances. In this way,
I try to read the traces of identity captured in the moment before the disappearance.
The stories, objects, and installations, can represent this moment of absence,
transformed into mute testimonies of those who were taken away.
Mothers, fathers, aunts, teachers, and neighbors are all invited to
participate in this endless compass of voices, words, objects and images. By
opening their public and private archives, their testimonies help me collect
traces in the city, to invent scenarios, to create puzzles with words and events,
and to write in the form of fragments. I try to recover their memories, and to
narrate their untold histories.
The SpringHand cut collage
7.25” X 11.5”
2013
$300
Aida Pinhas
Aida was born in Istanbul, Turkey, and moved to Israel when she was 18.
She received her Bachelors degree in Design, from Bezalel Academy of Art and
Design in Jerusalem, Israel. She studied in the Visual Communications department
where different disciplines were meshed, such as, typography, illustration,
interactive design, video making and advertising. She brought these manifold
visual sensibilities and her Mediterranean roots to New York in 2010 and started
pursuing her MFA in Illustration at the Fashion Institute of Technology in NYC,
and will graduate in 2013. The interaction between typography and illustration
is one of the main things that she likes exploring in her works. She has worked in
the graphic design firm, Studio Orit Jeger in Israel, and interned for the graphic
design department of the architecture firm SOM (Skidmore, Owings & Merrill)
in San Francisco. She participated in Pete’s Mini Zine Fest in July, 2012. She
currently freelances as an illustrator and a graphic designer. Having grown up
on her mother’s paintings was a great inspiration for her, and a checkpoint on
her path to a career in visual arts. She worked with children of ages 3-7 teaching
arts & crafts. She later on, combined this affective experience with volunteering
for visually impaired citizens in Israel; accompanying them and guiding them
through written sources. As an artist whose work is solely based on visuals,
this served as an illuminating experience for her to see the other side of the
coin of reality.
The Kissing Walllipsticks on canvas
10’ x 8’
2012
$3000
Ronit Levin Delgado
Ronit Levin Delgado (born in Tel-Aviv, Israel) lives and studies Masters
in Fine Art at Montclair State University in New Jersey, as a Fulbright scholar.
Levin Delgado graduated with honors from Bezalel Academy of Art and Design
in Jerusalem in 2008 with a Bachelor of Fine Art. While at Bezalel Academy, she
was selected for the Exchange Program for Merit Students to study at Carnegie
Mellon College of Art, Pittsburgh, PA. Levin Delgado has won many honors and
awards bestowed on her, including a 2011 Fulbright scholarship award, and a
Bezalel Academy scholarship, an award for excellence. Levin Delgado’s work
has been recently shown in New York City at Pratt Gallery and NYC Theater. She
has participated in many group exhibitions in Israel and the US, to include
Guttman Museum, Ramle Station for Contemporary Art and Hertzelilinblum
Museum. Levin Delgado was also a participant in the documentary film on
Israeli painters, “Discussions in Israeli Art with David Vakshtain”, in 2011. Most
recently Levin Delgado has been selected to be the Assisetant Set Deisgner for
“ZINNIAS: The Life Of Clementine Hunter”, Director: Robert Wilson at Alexander
Kasser Theater, NJ.
Mika
Photography
20” x 16”
2012
$350
Tom Eshchar
Most of what I do is accidental.
I’m not a great beleiver of trying hard, or over analyzing.
I grew up in a very liberal inviorment. A peaceful, tiny, socialist community. I’m
the first born in a big family. My father was very artistic growing up, but than
became an engineer. My mother was and is the kindest person I know.
I was always surounded by artistic people, but almost never considerd
myself as one. I did write poems, painted, played clarinet, and more, but always
thought of it as fun, not art. for me, most of what I do is just another way to
communicate with the world, with other people.
This sreies is an on going journy. It contains a very large number of poeple,
sessions, images. Until now, more than 70 non pro models took part in it, each
producing att least 10 different good images.
The technique is farely simple: I choose (either by myself or with my models)
a number of images and project them on a background and their skin. In such
way, the subject becomes part of the image, and “blends” in to it.
The greatness of this project is in several aspects:
First, it allows me to explore mre than just photography per se. My
interaction with strangers has become to me more important than the actual
outcome.
Second, The variety is infinite. I can basically take any graphical
component and turn it to something new.
Third, This project enables me to help other people in two major ways:
-Get to feel better about themselvs. I found that the sessions are very theraputic.
-become more open to the world, having put themselves to such an exposed
position.
Forth, it showed me how easy it is to get poeple to get out of their
comfort zone, me included.
Phthalo I, 2, 3, 4
oil on plexiglass
11”x11” each
2013
$500.00
$1500 for all 4 paintings
April Zanne Johnson
I have been inspired by the simple act of lying in the grass and looking
at the tiny world that exists within it, only to wish I could see more detail. The first
naturalist who observed organisms in a microscope looked for parallels in the
larger world. The electron microscope brought our visual perspective even
further, exposing the intricacies of an invisible realm. The possibility exists that
our world is no more than a nanoscopic element contained in a megalithic
organism. What technology could ever exist to see such a megalithic form in
whole? I enjoy fantasizing about these ideas, and my new work is developing
rapidly from these thoughts.
My recent paintings are portals into the possibilities that lie beyond our
present visual technology. They meld factual and fictitious organic imagery.
Although my visual research is based in science, the forms I create enjoy living
in an imaginative world of infinite possibility. The work is unhindered by concrete
thought. All rules are destined to change. Grounds shift, uneffected by gravity.
Foreground and background may alternate or become liquid.
The tool use, a mix of found objects and traditional paint brushes,
possess characteristics that encourage specific shapes or outcomes by working
on smooth, transparent surfaces. I intend a balance between improvised impulses
and premeditated techniques. Familiar motifs, linear forms, expressionist brush
marks, and other painterly stokes are combined into a dense and energetic
whole. I am also interested in color and the effects of light. The work is made
on a clear surface to allow for more light to enter and surround the imagery. The
smooth surfaces also allow greater fluidity when necessary. I find comfort working
between dense horror vacui as well as more uninhabited spaces. I find that a
dense and highly decorative surface is far more interesting to interpret.
Hominidae Giraffa camelopardalismixed media: wood, papier-mâché, oil paint, silicone.
(base) –wood, mirrors
2012
$12,500
Jamie Levine
The classical Greek image of the mythological Chimera was that of a monstrous,
female, fire-breathing creature: an incongruous mixture of the head of a lion, the body of a
goat, and the tail of a dragon. Humankind has imagined and portrayed fantastical creatures
since the beginning of time. But today this ancient myth exists in biotechnologically engineered
forms. The current scientific definition of ‘chimera’ is any organism composed of cells derived
from at least two genetically different zygotes. Translation: featherless chickens (bred for ease
of production); mice with human brain cells; hybridized creatures like the geep (sheep+goat),
liger (lion+tiger), beefalo (buffalo+cow), and donkra (donkey+zebra). Most recently, the
world’s first primate chimeras have emerged, created from several different species of monkey
embryos. Might not human/animal chimeras be next?
My current body of work is inspired by these modern-day chimeras, however I pick up
where science leaves off, fusing the animal with the human. Details and craftsmanship are key
elements in my work, as I seek to create seamless, lifelike forms. I have cast, for example, the
bodies of a raw chicken and a human doll baby in resin, taking pains to unify the seemingly
‘separate’ elements into plausible whole. Often, my creatures sport weird, disturbing, or
unexpectedly sexy body parts. I have mixed the body of a giraffe with the cast head of a
female mannequin, her face “made up” with false eyelashes and her mouth filled with acrylic
casts of my own teeth. If viewers look into the mirrored tiles that cover the plinth on which she
stands, they will see a reflection of the human vagina I placed on her underbelly. Overall, my
hybrid creatures are vulnerable, whimsical, and can act as lighting rods for the viewer’s
catharsis. Although grotesque, they appear utterly real. Questions seem to issue from their
parted lips: “If I could talk, what would I say?” “Are you, as humans, ready to listen?”
Working for so many years with hybrid forms has helped me see myself as a mixture:
mother/professional artist; instinctive animal/wise woman; healer/sufferer. I’ve learned a great
deal about humanity in adopting the part-beast as my own. This work has taught me that to be
fully human is a process, a verb, a goal towards which we must all aspire rather than a static
state of entitlement. Animals, driven by instinct, teach us to trust our inner natures.
Mad as Softnessacrylic on canvas
54” x 92”
$6000
Graham Preston
I am a painter who strives to evoke an array of emotional responses from
the viewer through the layering of symbolic imagery, deriving from historical and
personal events, in order to describe and share my concerns and fascinations
with the contemporary, information-ally overloaded, fractured form of the human
condition through the suggestion of non-linear narratives. It seems as the level
of information we are exposed to increases, our personal convictions waver
toward a more passive acceptance of our individual roles in life, leaving us more
or less stagnated, fractured and feeling less empowered as a societal whole.
Through the use of pastiche, formal qualities of representation, and varying the
approach and application of paint, I have been attempting to create a language
that transcends the autobiographical content of which these images derive from
in order to have a compassionate, sincere, conversation with the viewer that
explores all facets of human emotion. My paintings have been said to hold the
narrative quality of a dream, recollection, or memory. I have heard them being
compared to the works of post -modern film makers such as Wes Anderson and
David Lynch.I feel that to be a painter is to be a writer, a speaker of tongues, a
person who attempts to translate the days. I attempt to use imagery to describe
moments or scenes that discuss what it means to be alive where language
driven narratives fail. Living within an age of ancient diffused mythologies and
rapid scientific and technological development, I have begun to set out to try
and bring a level of importance to the disbanded remains of the past that remain
prevalent to our recollections but have been proved to be irrelevant or orphaned
in the face of our current realities. My goal is to create art objects that are
crafted and approached by the viewer as a contemporary form of Altar Piece.”
Resuscitation1/1 Print, Drawing
16* x 16”
2013
$700
Chen Serfaty
Chen’s works question the human function in the western society, She
chooses known and public spaces as well as objects and materials, and brings
her inner conflicts into new surrealist and senseless situations, Combining small
and minimalistic body movements,Chen creates a new space devoid of logic,
while still harmonious. Paralleling her false conceptions regarding her existence
with the ability to reconcile herself with the illusion.
Lipsmixed media
48’’ x 24’
2010
Kiss you my love (cherry Bomb)digital photo, 2010
price for both $3500
Lior Shvil
Lior Shvil was born in Tel Aviv, Israel and lives and works in New York.
In 2010 he received his M.F.A from Columbia University. He has a Bachelor’s
degree in Architecture, and has completed a Post Graduate program in Art and
Design from the Bezalel Academy, Jerusalem. Shvil has had solo exhibitions at,
Andrea Rosen Gallery, NY, USA (2011), Recess, NY, USA (2010), Herzliya
Museum of Art, Herzelia, Israel (2008); The Heder Gallery, Tel- Aviv, Israel (2005)
and Hamidrasha Gallery, Beit Berl, Israel (2004).
Shvil has been included in many shows; at the Sculpture Center, NY;
Socrates Sculpture Park, NY and in an exhibition dedicated to performance
curated by Rirkrit Tiravanija especially for the 2010 Miami Art Basel,
The 7th International Istanbul Biennial and the the NGBK Gallery in Berlin
Germany. Shvil won the The Lotos foundation prize for Art and Science, New
York City. Samuel Givon Prize for Young Artist, awarded by the The Tel Aviv
Museum of Art, as well as the Israel - America Fund for Culture, Israel and got
the Artis Grant, New York.
Smoke3 panels: wooden board, resin, oil paintng
24” x 36”
Inquire if Interested
Aneta Wegrzyn
I have a certain obsession that drives me and my artistic practice. I am
compelled to pursue the transient, to glimpse the dynamic and unstable. In my
recent works I am interested in micro-flows and little happenings in daily life that
the mind would normally stabilize and flush away: the small, the marginal, the
in-between. Nothing is stable. Everything is an event and relational.
I paint events that do not belong to a specific place, have no context or origins,
and are caused by anybody and everybody. It can be as simple as cigarette
smoke, the splash in a puddle, the circles spreading on the water. Despite
their simplicity, none of these little happenings will be exactly the same, and will
change in each moment according to the rules of nature and passing time. I
explore the impossibility of capturing them.
I find that painting, with its long history of representation, is the best medium for
this subject. In order to find a way to represent the transient, I study techniques
from the Old Masters, and continue to search for new tools and mediums. My
process of painting often involves repetition and many layers, and becomes a
ritual or meditation.
Frozendigital art, 16”x20”
Model: Frozen May | Styling: Ofek.Muse.Art | Studio: Noam Dinar
2013
$850
Alizarin Weissberg
Alizarin, named after the color “Alizarin Crimson”, is an interactive
art-director. She was born in the former USSR, grew up in Israel, travelled the far
east, and now residing in New York. Her volume of work combines the influences
of classic art education, with the use of new-media tools. From video, through
photo-manipulation, to artistic events production.
In her work, Alizarin is approaching global, collective issues from a
personal and sincere point of view. Her aim is to create artworks that tell a story
and trigger the viewer to become a participant.
Alizarin took part in the documentary TV show “Connected” on the Israeli
Television, showcased her interactive art on some of Tel Aviv’s most iconic
venues (such as the Block club, the Maxim, The Bar Kayma), and hosted
extraordinary art events in the Glasshouse gallery in Brooklyn. You can view her
commercial works at www.alizarinz.com
Frozen. Shy, delicate and unattainable; but also a seductive wizard of
words. A portrait that catches more than just a person, but a process of personal
growth, or perhaps decay?
In this piece, the classic tale of “Snow White” was chosen to represent
the acquisition of adulthood. However, in this fairy tale, the protagonist (Snow
White) and the antagonist (the evil queen) are the same person. The meeting
between the two personas brings up the conflict of adolescence; it asks whether
should one choose the comfort of staying an innocent infant, or is it time to take
the leap and handle the disillusionment of maturity.
Untitledacrylic on canvas
24” x 36”
2012
Inquire If Interested
Tatiana Zank
My painting process concentrates on realistic portraits & figurative
subjects because I take especial interest in human expressions and emotions.
They are the powerful driving force behind our actions, and often emotions are
the direct connection between the cognition and the behavior. I believe that our
early experiences shape our personalities, influence our relationships, define our
emotions, and determine our self-concept.
My latest body of work “Black & White Memories” is influenced by the
black & white photographs that reflect on my past. Exploring my own emotional
world is the focal point of the new artwork. Painting in layers allows me to portray
the complexity of the human nature and the relationship between the conscious
and the unconscious.
In my paintings I tend to employ a hidden narrative without making it
obvious to a viewer. My hope is that, by looking at my paintings, viewers will be
able to enter a different world behind the canvas, which is unique to each viewer
due to the differences in our perception.
73 Pine Street, Suite CMontclair, NJ 07042
www.73seegallery.com
u
Hours: Tuesday Thru Sunday Noon til 6or by appointment. Closed Mondays.
fine Art & art reproductions
73 See Gallery invites you to stop by the gallery or
visit us online. We offer original art for the serious
collector and the highest quality limited edition fine art
reproductions on museum archival paper or canvas
to enhance your home or business environment. We are
expanding our representation of artists and as our
collection grows so should the frequency of your visits.
we look forward to seeing you soon
Golden King, Mary Z, mixed media on wood, 2010, tribute
73 C Pine Street
Montclair, NJ 07042
Catalog 5 © 2013