serge strosberg catalog
DESCRIPTION
Featuring paintings by Serge Strosberg, including those in his current exhibition, TALES OF THE HIGHLINE, at The Lionheart Gallery.TRANSCRIPT
serge strosbergtales of the highline
Serge Strosberg2014 – 2016
“The color and the movement of the brush, the plants and trees of the High Line, give life to these architectures. The High Line is a surrealist place where you have plants, glass, reflections, and silence from traffic in a city where it is hard to find oxygen. To me, the High Line is a breath of oxygen and almost a fantasy area.”
–Serge Strosberg
Pound Ridge, New York – (February 10, 2016) Described as the Expressionist of Fashion, Serge Strosberg is an observer of downtown New York and its stories, a lover of rich color and intriguing personalities. Belgian by birth, he received his formal art education in Paris. After several successful exhibitions in Europe and the United States, Strosberg moved to New York in 2008 and has lived and worked in SoHo ever since. His paintings exude the vibrant flavors of this neighborhood.
Strosberg inhabits a space four floors above the retail windows of SoHo—stores he calls beautiful, scary, and endlessly inspiring. Reflections are often explored in his paintings; he is an observer of society, genuinely interested in other people and what they project. In this new series, Tales of the High Line, Strosberg juxtaposes the inner lives of fashionable subjects with the natural world of downtown Manhattan’s elevated 1.45-mile-long park and its ev-er-changing colors, textures, and seasons. Through oil paintings and watercolors, the artist depicts scenes of Lower West Side architecture as well as more intimate interior portraits.
Serge Strosberg’s Tales of the Highline Featured at the Lionheart GalleryNew Exhibition opens on March 20, 2016 through May 1, 2016
“Serge Strosberg is a realistic painter of the urban world and its characters, but with an ex-pressionistic style,” says Lionheart Gallery Director Susan Grissom. “In this exciting series, Strosberg uses the High Line as his own playground. You will feel like a voyeur as you are given a telescopic view into slices of his characters’ lives, and glimpse how they view the High Line from their unique worlds.”
Strosberg notes that the High Line reminds him of his Parisian past and the Promenade Plantée, the elevated park on which New York’s was modeled. To capture his often unusual points of view, the artist first photographed his chosen High Line locations, then painted the images. This process was not without risk. “I took many pictures in locations that were sometimes ad-venturous,” he says, confiding that he and his models were often chased by security guards and photographed by onlookers.
Finding inspiration in a variety of masters, from Rembrandt and Rubens to Raphael Soyer, Philip Pearlstein, and Lucien Freud—with whom he exhibited several times—Strosberg is adept at allowing his models’ personalities to shine through their skin. He uses the same treatment on the Manhattan skyline. “The color and the movement of the brush, the plants and trees of the High Line, give life to these architectures,” he says. The color in these works is opulent and lush. Strosberg has studied with the German Expressionist Jörg Hermle, who taught him the centuries-old technique of painting with oil and egg tempera; to this day, he makes his own paint and mediums, mixing egg with pure pigments imported from Rome. Through these traditional methods he achieves maximum color contrasts and sensual flesh tones. Strosberg has recently started adding enamel paints to his tempura for even more intense, concentrated hues, which he considers essential for creating emotional charge.
Tales of the High Line features views of both impressive heights and breathy closeness. In High Line III (The Standard), Strosberg paints the hotel notorious for its exhibitionist glamor; it looms like an open book of windows against a blue spring sky. The Starrett-Lehigh Building glows in tones of lavender and gold, a bewitching vision of the Chelsea landmark at dusk. More intimate portraits peek into bedroom and private balconies, as in The After Party where a pixie-coiffed model leans in reverie, early-hours Manhattan in the background. It should come as no surprise that the artist studied in his Paris days with Vogue and Elle photographer Peter Knapp.
In the words of Strosberg, “The High Line is a surrealist place where you have plants, glass, reflections, and silence from traffic in a city where it is hard to find oxygen. To me, the High Line is a breath of oxygen and almost a fantasy area.”
View Tales of the Highline by Serge Strosberg at the Lionheart Gallery’s Exhibition, opening March 20, 2016 and running through May 1, 2016, Wednesday through Saturday, from 11 AM to 5 PM, and Sunday from 12 noon to 4 PM. For more information and directions to the gallery at 27 Westchester Avenue in Pound Ridge, New York, call 914 764 8689 or visit www.thelionheartgallery.com
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tales of the highline
Hopper Highline, 2016
25” x 30”Oil, Egg Tempera and Enamel on Canvas
6
The Standard Hotel, 2016
38” x 41”Oil, Egg Tempera and Enamel on Canvas
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The Starrett-Lehigh Building, 2016
31” x 48”Oil, Egg Tempera and Enamel on Canvas
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The IAC Building, 2016
52” x 36”Oil and Enamel on Canvas
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In Vivo In Vitro I, 2014
53” x 65”Oil and Egg Tempera on Canvas
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In Vivo In Vitro II, 2014
53” x 65”Oil and Egg Tempera on Canvas
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In Vivo In Vitro IV, 2014
50” x 41.5”Oil and Egg Tempera on Canvas
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Attending to His Creation (Amanda), 2016
45” x 35”Oil and Egg Tempera on Canvas
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Femme Au Chat, 2016
44.5” x 42”Oil on Canvas
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The Photographer and The Muse, 2016
52” x 38”Oil and Egg Tempera on Canvas
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The Afterparty, 2014
69” x 48”Oil and Egg Tempera on Linen
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Olga’s World, 2016
45” x 66”Oil and Egg Tempera on Canvas
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Serenity, 2016
29” x 45.5”Oil and Egg Tempera on Canvas
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Lust, 2014
53” x 33”Oil and Egg Tempera on Canvas
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Sloth, 2014
53” x 33”Oil and Egg Tempera on Canvas
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Olivier, 2016
32” x 24”Oil on Canvas
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The Body Builder, 2014
14” x 11”Watercolor on Paper
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Jordan Fox Ink, 2014
14” x 11”Watercolor on Paper
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Malik So Chic, 2014
14” x 11”Watercolor on Paper
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Vienna, 2014
11” x 14”Watercolor on Paper
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Julia Under the Red Spotlight, 2014
11” x 14”Watercolor on Paper
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EXHIBITIONPHOTOS
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Serge Strosberg’s TALES OF THE HIGHLINE, 2016
Serge Strosberg’s TALES OF THE HIGHLINE, 2016
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Serge Strosberg’s TALES OF THE HIGHLINE, 2016
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Serge Strosberg’s TALES OF THE HIGHLINE, 2016
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Opening of Serge Strosberg’s TALES OF THE HIGHLINEMarch 20, 2016
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Opening of Serge Strosberg’s TALES OF THE HIGHLINEMarch 20, 2016
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Opening of Serge Strosberg’s TALES OF THE HIGHLINEMarch 20, 2016
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Opening of Serge Strosberg’s TALES OF THE HIGHLINEMarch 20, 2016
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Opening of Serge Strosberg’s TALES OF THE HIGHLINEMarch 20, 2016
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Opening of Serge Strosberg’s TALES OF THE HIGHLINEMarch 20, 2016
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EDITORIALARTSY
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From the High Line to a Rabbit Warren, Two PaintersExplore Human and Animal Nature
ARTSYAPR 21ST, 2016 12:45 AM
If you’ve ever walked along the High Line—the elevated promenade builton an abandoned railroad spur on Manhattan’s west side—you’veprobably experienced the strange thrill of peering into someone else’sapartment. It’s an unsettling feeling, something like looking at fishswimming in a bowl or an animal enclosed in a well-appointed cage.
That voyeuristic rush seeps into two painting exhibitions currentlyshowing at the Lionheart Gallery in Pound Ridge, New York. Granted, therabbits of Jo Hay’s “Rabbitude” aren’t actually in cages, and no one feelsbad for citizens lucky enough to live in the lush apartments and condosalong the High Line (those residents make up Serge Strosberg’s “Tales ofthe High Line”). Nevertheless, both shows offer windows into human (andanimal) lives.
Indeed, many of Strosberg’s paintings are almost disturbingly intimate. Inpieces like Lust or Julia Under the Red Spotlight, subjects are vulnerable andpartly disrobed; viewers might feel like they’re trespassing. Not to worry:Though the paintings are based on Strosberg’s real-life photographs, theartist used his own models on location. “I took many pictures in locationsthat were sometimes adventurous,” he has said.
The Afterparty pictures a young woman relaxing on a balcony—a sceneyou’ll likely glimpse on a cool summer night in New York or any othercity. Some of Strosberg’s paintings, like Hopper Highline or The IACBuilding, are less personal and more architectural. Viewed together, thepaintings capture the grit and glamour of the High Line, “a surrealistplace,” Strosberg has said, “where you have plants, glass, reflections, andsilence from traffic in a city where it is hard to find oxygen. To me, theHigh Line is a breath of oxygen and almost a fantasy area.”
Hay, meanwhile, has traditionally focused on human subjects as well, so“Rabbitude” signifies something of a departure for the British figurativepainter. Still, her lush, large-scale rabbit portraits could be seen as anextension of her ongoing exploration of sexuality, gender, and identity.After all, each subject seems to have its own personality: Blue Jean andBlackstar are distinct from, say, The Thin White Duke (all 2016; and yes,each rabbit seems to have a David Bowie–inspired name).
Hay’s recent paintings draw a parallel between human and animalconsciousness. “I relate to their alert, edgy energy,” she has said, “and theconstant vigilance required to always remain nimble enough to get in andout of fluctuating situations.” Atop the High Line, those same edgyenergies and fluctuating situations are available in ample supply.
—Bridget Gleeson
“Tales of the High Line” and “Rabbitude” are on view at the LionheartGallery, Pound Ridge, New York, Mar 20–May 1, 2016.
Follow the Lionheart Gallery on Artsy.
� � �
Olga's World, 2016Serge Strosberg
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Lust Julia Under the Red SpotlightSerge Strosberg
The Lionheart Gallery
Serge Strosberg
The Lionheart Gallery
The Afterparty The IAC Building, 2016Serge Strosberg
The Lionheart Gallery
Serge Strosberg
The Lionheart Gallery
Blackstar, 2016 The Thin White Duke, 2016Jo Hay
The Lionheart Gallery
Jo Hay
The Lionheart Gallery
���
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From the High Line to a Rabbit Cage, Two PaintersExplore Human and Animal Nature
ARTSYAPR 21ST, 2016 12:45 AM
If you’ve ever walked along the High Line—the elevated promenade builton an abandoned railroad spur on Manhattan’s west side—you’veprobably experienced the strange thrill of peering into someone else’sapartment. It’s an unsettling feeling, something like looking at fishswimming in a bowl or an animal enclosed in a well-appointed cage.
That voyeuristic rush seeps into two painting exhibitions currentlyshowing at the Lionheart Gallery in Pound Ridge, New York. Granted, therabbits of Jo Hay’s “Rabbitude” aren’t actually in cages, and no one feelsbad for citizens lucky enough to live in the lush apartments and condosalong the High Line (those residents make up Serge Strosberg’s “Tales ofthe High Line”). Nevertheless, both shows offer windows into human (andanimal) lives.
Indeed, many of Strosberg’s paintings are almost disturbingly intimate. Inpieces like Lust or Julia Under the Red Spotlight, subjects are vulnerable andpartly disrobed; viewers might feel like they’re trespassing. Not to worry:Though the paintings are based on Strosberg’s real-life photographs, theartist used his own models on location. “I took many pictures in locationsthat were sometimes adventurous,” he has said.
The Afterparty pictures a young woman relaxing on a balcony—a sceneyou’ll likely glimpse on a cool summer night in New York or any othercity. Some of Strosberg’s paintings, like Hopper Highline or The IACBuilding, are less personal and more architectural. Viewed together, thepaintings capture the grit and glamour of the High Line, “a surrealistplace,” Strosberg has said, “where you have plants, glass, reflections, andsilence from traffic in a city where it is hard to find oxygen. To me, theHigh Line is a breath of oxygen and almost a fantasy area.”
Hay, meanwhile, has traditionally focused on human subjects as well, so“Rabbitude” signifies something of a departure for the British figurativepainter. Still, her lush, large-scale rabbit portraits could be seen as anextension of her ongoing exploration of sexuality, gender, and identity.After all, each subject seems to have its own personality: Blue Jean andBlackstar are distinct from, say, The Thin White Duke (all 2016; and yes,each rabbit seems to have a David Bowie–inspired name).
Hay’s recent paintings draw a parallel between human and animalconsciousness. “I relate to their alert, edgy energy,” she has said, “and theconstant vigilance required to always remain nimble enough to get in andout of fluctuating situations.” Atop the High Line, those same edgyenergies and fluctuating situations are available in ample supply.
—Bridget Gleeson
“Tales of the High Line” and “Rabbitude” are on view at the LionheartGallery, Pound Ridge, New York, Mar 20–May 1, 2016.
Follow the Lionheart Gallery on Artsy.
� � �
Olga's World, 2016Serge Strosberg
The Lionheart Gallery
The Standard HotelSerge Strosberg
The Lionheart Gallery
How Kerry James MarshallBecame a Superhero forChicago’s Housing ProjectsARTSY EDITORIAL
BY ELLEN TANI
Independent Brussels’sDebut Edition Brings theDealer-First Fair Back toIts RootsARTSY EDITORIAL
BY MOLLY GOTTSCHALK
World-Renowned DanceCompanies Flock Togetherfor Photographer Nir ArieliARTSY EDITORIAL
BY CASEY LESSER
Legendary Architect FrankGehry Honored forDiplomacy through theArtsARTSY EDITORIAL
BY ISAAC KAPLAN
Major Warhol WorksHead to BeijingARTSY EDITORIAL
BY ISAAC KAPLAN
Can an Irish BiennialReimagine ColonialHistory?ARTSY EDITORIAL
BY BEN EASTHAM
What Sold at Art CologneARTSY EDITORIAL
BY ALEXANDER FORBES
R. Crumb Delivers ComicRelief to a Beauty-ObsessedSocietyARTSY EDITORIAL
BY CHARLOTTE JANSEN
Legendary MalianPhotographer MalickSidibé Dies at 80ARTSY EDITORIAL
BY ALEXXA GOTTHARDT
Warhol Soup Can PrintsStolen—and the 9 OtherBiggest News Stories ThisWeekARTSY EDITORIAL
Lust Julia Under the Red SpotlightSerge Strosberg
The Lionheart Gallery
Serge Strosberg
The Lionheart Gallery
The Afterparty The IAC Building, 2016Serge Strosberg
The Lionheart Gallery
Serge Strosberg
The Lionheart Gallery
Blackstar, 2016 The Thin White Duke, 2016Jo Hay
The Lionheart Gallery
Jo Hay
The Lionheart Gallery
���
� Search…� ARTISTS ARTWORKS FAIRS AUCTIONS MAGAZINE MORE LOG IN SIGN UP
Want help collecting on Artsy?
Contact an Artsy specialist
General questions & feedback?
Contact Artsy
Send us feedback
COLLECTING
Collecting on Artsy
Collecting Resources
About Artsy Auctions
EDUCATION
Education
The Art Genome Pro…
ABOUT ARTSY
About
Jobs
Open Source
Galleries A–Z
Museums A–Z
PARTNERING & PRESS
Artsy for Galleries
Artsy for Institutions
Artsy for Auctions
Press
� © 2016 Artsy Terms of Use Privacy Policy Security ���
WHAT TO READ NEXT
SHARE ARTICLE
From the High Line to a Rabbit Cage, Two PaintersExplore Human and Animal Nature
ARTSYAPR 21ST, 2016 12:45 AM
If you’ve ever walked along the High Line—the elevated promenade builton an abandoned railroad spur on Manhattan’s west side—you’veprobably experienced the strange thrill of peering into someone else’sapartment. It’s an unsettling feeling, something like looking at fishswimming in a bowl or an animal enclosed in a well-appointed cage.
That voyeuristic rush seeps into two painting exhibitions currentlyshowing at the Lionheart Gallery in Pound Ridge, New York. Granted, therabbits of Jo Hay’s “Rabbitude” aren’t actually in cages, and no one feelsbad for citizens lucky enough to live in the lush apartments and condosalong the High Line (those residents make up Serge Strosberg’s “Tales ofthe High Line”). Nevertheless, both shows offer windows into human (andanimal) lives.
Indeed, many of Strosberg’s paintings are almost disturbingly intimate. Inpieces like Lust or Julia Under the Red Spotlight, subjects are vulnerable andpartly disrobed; viewers might feel like they’re trespassing. Not to worry:Though the paintings are based on Strosberg’s real-life photographs, theartist used his own models on location. “I took many pictures in locationsthat were sometimes adventurous,” he has said.
The Afterparty pictures a young woman relaxing on a balcony—a sceneyou’ll likely glimpse on a cool summer night in New York or any othercity. Some of Strosberg’s paintings, like Hopper Highline or The IACBuilding, are less personal and more architectural. Viewed together, thepaintings capture the grit and glamour of the High Line, “a surrealistplace,” Strosberg has said, “where you have plants, glass, reflections, andsilence from traffic in a city where it is hard to find oxygen. To me, theHigh Line is a breath of oxygen and almost a fantasy area.”
Hay, meanwhile, has traditionally focused on human subjects as well, so“Rabbitude” signifies something of a departure for the British figurativepainter. Still, her lush, large-scale rabbit portraits could be seen as anextension of her ongoing exploration of sexuality, gender, and identity.After all, each subject seems to have its own personality: Blue Jean andBlackstar are distinct from, say, The Thin White Duke (all 2016; and yes,each rabbit seems to have a David Bowie–inspired name).
Hay’s recent paintings draw a parallel between human and animalconsciousness. “I relate to their alert, edgy energy,” she has said, “and theconstant vigilance required to always remain nimble enough to get in andout of fluctuating situations.” Atop the High Line, those same edgyenergies and fluctuating situations are available in ample supply.
—Bridget Gleeson
“Tales of the High Line” and “Rabbitude” are on view at the LionheartGallery, Pound Ridge, New York, Mar 20–May 1, 2016.
Follow the Lionheart Gallery on Artsy.
� � �
Olga's World, 2016Serge Strosberg
The Lionheart Gallery
The Standard HotelSerge Strosberg
The Lionheart Gallery
How Kerry James MarshallBecame a Superhero forChicago’s Housing ProjectsARTSY EDITORIAL
BY ELLEN TANI
Independent Brussels’sDebut Edition Brings theDealer-First Fair Back toIts RootsARTSY EDITORIAL
BY MOLLY GOTTSCHALK
World-Renowned DanceCompanies Flock Togetherfor Photographer Nir ArieliARTSY EDITORIAL
BY CASEY LESSER
Legendary Architect FrankGehry Honored forDiplomacy through theArtsARTSY EDITORIAL
BY ISAAC KAPLAN
Major Warhol WorksHead to BeijingARTSY EDITORIAL
BY ISAAC KAPLAN
Can an Irish BiennialReimagine ColonialHistory?ARTSY EDITORIAL
BY BEN EASTHAM
What Sold at Art CologneARTSY EDITORIAL
BY ALEXANDER FORBES
R. Crumb Delivers ComicRelief to a Beauty-ObsessedSocietyARTSY EDITORIAL
BY CHARLOTTE JANSEN
Legendary MalianPhotographer MalickSidibé Dies at 80ARTSY EDITORIAL
BY ALEXXA GOTTHARDT
Warhol Soup Can PrintsStolen—and the 9 OtherBiggest News Stories ThisWeekARTSY EDITORIAL
Lust Julia Under the Red SpotlightSerge Strosberg
The Lionheart Gallery
Serge Strosberg
The Lionheart Gallery
The Afterparty The IAC Building, 2016Serge Strosberg
The Lionheart Gallery
Serge Strosberg
The Lionheart Gallery
Blackstar, 2016 The Thin White Duke, 2016Jo Hay
The Lionheart Gallery
Jo Hay
The Lionheart Gallery
���
� Search…� ARTISTS ARTWORKS FAIRS AUCTIONS MAGAZINE MORE LOG IN SIGN UP
41
This catalogue was published to accompany the Serge Strosberg Spring Exhibition at The Lionheart Gallery.
Serge Strosberg March 2014 – May 1, 2016
Curated by Susan GrissomDesigned by Chelsea Walsh
All images copyright of the artist. Images of the works are reproduced courtesy of the artist and The Lionheart Gallery.
All rights reserved. No part of this book may be produced, stored in a retrieval system or transmitted in any form or by any means without prior permission in writing of the copyright holder and The Lionheart Gallery.
27 Westchester Avenue, Pound Ridge, NY 10576www.thelionheartgallery.com 914 764 8689
Essay by Tori Rysz
43
