Category Archives: Art in New Jersey

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Home, Markeim Art CenterWayne Klaw, Disconnected (2016), archival injket, Home, Markeim Arts Center

HOME

by Laura Storck

This exhibit is truly a diverse collection of images based on the idea of “home” from the myriad viewpoints of 35 local photographers. To be honest, I looked forward to seeing others’ interpretations of this topic with incredible anticipation and intrigue.

Home, Markeim Art CenterRichard Montemurro, Cozy Corner (2016), pigmented archival inkjet print

“There are many items throughout our home that are photographable and from time to time have been photographed. Most of them have been taken for granted as household decorations or ignored until I decide to photograph some of them. Such is the case with these figurines, tucked away on a shelf in a dark corner of our living room, behind a table lamp. Often seen and taken for granted – until now.” – Richard Montemurro

Home, Markeim Art CenterMelissa Hellwig, Mabel (2015), digital photograph

Mabel by Melissa Hellwig: “Home is where the heart is and my heart is my beautiful daughter, Mabel. I took this photo during her monthly photo shoot when she turned 6 months old. She loves having her picture taken!”

What is home? According to the prospectus: “Home” will be a show of images that presents compelling photographs on any of the aspects or themes of “home”.  Images submitted should be those that the photographer connects to an idea of “home” – this is inclusive of any definition or personal connection and could be home sweet home, home run, home town, home stretch, homey, home free, home base, etc.

Home, Markeim Art CenterEllie Wright, Twenty Gammons Road (2012), laser print

“Twenty Gammons Road passed into memory February, 2012. Its passing was attended by its most recent resident as witness to the 94 years of shelter it provided beginning in 1918. Twenty Gammons Road is survived by the memories of life lived within its walls.” – Ellie Wright

Home, Markeim Art CenterChristine Foster, Joey’s House (2013). archival giclee print, shot on film with a Holga

Home, Markeim Art CenterPat E. Fitzgerald, Homemade Apple Pie (2015), chromogenic print

“Ever since I ate a piece of Carolyn’s homemade apple pie, I have not been able to eat one that is bought at a store, served in a restaurant, or homemade by anyone else. As you can see from the photo, the consistency of the crust enhances its taste, but what makes Carolyn’s apple pie so perfect is that every apple slice is deliciously soft–there isn’t one hard apple slice in the entire pie!” – Pat E. Fitzgerald

Home, Markeim Art CenterSandra C. Davis, Home Invasion-Stealing Fruit (2015), archival pigment print

“The Home Invasion series are images which will be published in book telling the story of old toys that have been put away in a box and left forgotten in the basement. They come to life and make their way out of the basement and into the home to begin making mischief while the humans sleep. Did you ever wonder how that piece of fruit ended up in the middle of the floor? Or what happened to that other sock? How did that book get knocked from the shelf? Perhaps they are in your home and are answer to those unsolved mysteries.” – Sandra C. Davis

Home, Markeim Art CenterErik James Montgomery, Home (1998), chromogenic print

“My friend and I participated in a community outreach at a housing project in Newark where residents received free food and clothing.  While there I noticed an elderly woman looking at us from a distance through her window. I was intrigued so I grabbed my camera and took the first photo. As I walked closer to the subject I saw all of the broken and boarded up windows in her building. Amazingly, she secured her windows with store grates! I’ve seen a lot of peculiar things over my life but having store grates inside someone’s apartment was incredulous.

I approached the senior and asked if I could take her picture. She obliged and then told me that she has lived there for over 40 years and has seen her community decline because of crime and drugs. I asked her why she doesn’t simply move away from there because it’s so dangerous. She replied, “Baby, I can’t leave, this is my home.” Her weighty words taught me that compassion plus commitment is the foundation of any community.” – Erik James Montgomery

When I was invited by curator Norm Hinsey to participate in the group photography show themed HOME at the Markeim Arts Center, I wasn’t quite sure I wanted to participate. To me, the word home evokes ideas of a warm, fuzzy, safe, and nurturing place — also a place of which I have never felt connected. After much pondering, Billy Joel’s ballad “You’re My Home” came to mind. Yes, that’s it. This song resonates with me. Home for me is not a physical place, but a feeling. Relationships. Comfort. Self-acceptance. Authenticity. Love. “Look within yourself”, my inner voice whispered, “and you’ll find your meaning.”

Home, Markeim Art CenterLaura Storck, Revelation as a Wife and Mother (You’re so cramped here.), 2011, silver gelatin print

After much recollection and pondering, I realized that because of my nomadic spirit and constant cravings, the concept of home isn’t a place, it’s a sensibility. It’s the notion of feeling secure within myself.

My image “Revelation of a Wife and Mother (You’re so cramped here.)” was a decisive moment for me. Several years ago, I had just started a Holga camera and darkroom class at the University of the Arts and was playing around with the new detachable flash that had arrived in the mail. While watching a Serbian film with English subtitles made in the late 1960’s, I randomly snapped a photo while firing off the flash to figure out how it worked. It wasn’t until printing the enlarged 120mm film image in the darkroom did I hold a clear vision of what I had captured — not just a black and white image of my messy living room, but a snapshot which perfectly conveyed how I truly felt on that cool October afternoon in 2011.

Home, Markeim Art CenterAnne M. Ferara, Grandma’s China (2016), chromogenic print

“This image evokes memories of home and family gatherings.” – Anne M. Ferara

Home, Markeim Art CenterOla Wilk, Suzy (Walkersville, Maryland), 2014, chromagenic print

“Suzy, a proud teenage horse trainer and show competitor, at the entrance to a trailer on her horse farm in rural Maryland.” – Ola Wilk

Home, Markeim Art CenterSteve Tornone, Home-cooked Meal (2015), silver halide print

Home, Markeim Art CenterLionel Goodman, Home Sweet Home (2015), archival pigmented inkjet

“This photograph of a Roma (gypsy) was taken summer 2014 on the busy Paris left-bank boulevard, Rue Vaugirard. It is noteworthy that the photograph depicts a common Parisian street scene well before the Syrian migration. These (illegal) homes on the street frequently include tents, babies and even pets. Except for the Champs Elysees right-bank quarter they are generally tolerated by the police. These Roma encampments in Paris reflect a long standing internal European migration problem.” – Lionel Goodman

I draw much contentment and energy from the beautiful relationships I’ve formed over the years. Most of all, I’m learning to feel completely whole by allowing myself to pursue my deepest interests and passions without abandon — my art — thus evolving to self-actualization (finally) without judgment but with encouragement, patience, and pride. This is home to me — being comfortable in my own skin. I haven’t made it home yet but the journey is an interesting, poignant, and exciting adventure.

Home, Markeim Art CenterCollection of Norm Hinsey, Marvin’s Photo Album, Polaroid SX-70

Participating artists in HOME include: Anne Ferara, Ava Hartline, Blaise Tobia, Christine Foster, Dave Magyar, Ellie Wright, Erik James Montgomery, Geoff McClain, Gloria Whitney, Heather Siple, Hope Ardizzone, Joan Wheeler, Joel Blum, Joseph Gilchrist, Kate McGovern, Kevin Provost, Laura Storck, Lionel Goodman, Melissa Hellwig, Ola WIlk, Pat Fitzgerald, Peter Burt, Richard Montemurro, Ruth Haines, S Gili Post, Sandra Davis, Scott Johnson, Sky McClain, Steve Tornone, Susan Spitz, Valerie Williams, Vera Hinsey, Vera Resnik, Wayne Klaw, and Whit McGinley.

Curator Norm Hinsey is a photographer, as well as director of CREON Gallery in New York City. He has curated several shows at the Markeim, including  MYSTERIOUS, ALL NATURAL, INSPIRED, EYE OF THE BEHOLDER, and PORTRAIT. CREON has recently shown a retrospective of photographs by Krzysztof Zarebski; and hosted EXPOSED, an exhibition that included work by Ellen Carey and Amanda Means exploring new and unique photographic processes.

HOME will be on exhibit at the Markeim Art Center, 104 Walnut Street
(Lincoln Ave & Walnut St) Haddonfield, NJ 08033
through March 5, 2016856-429-8585 info@markeimartscenter.org

Written and photographed by Laura Storck

Laura Storck Photography ARTIST. SCIENTIST. PHOTOGRAPHER. ROCK STAR.: https://laurastorck.wordpress.com/

Instagramhttp://instagram.com/laurastorck/

Facebook:  https://facebook.com/laura.h.storck

Twitter: @Laura_Storck

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Billy Joel – You’re My Home (Live 1981)

Invincible

April Saul, Camden, NJ: A Spirit Invincible, The List Gallery

April Saul, Camden, NJ: A Spirit Invincible, The List Gallery

William J. Cooper Foundation Sponsors Concurrent Exhibitions by April Saul, March 2—April 3, 2016.

The List GallerySwarthmore College500 College Avenue, McCabe Library Atrium,Our American Family, Swarthmore, Pa. 19081 Gallery hours: Tuesdays—Sundays, Noon–5:00 PM

Swarthmore College Libraries and The List Gallery are pleased to announce that they will host concurrent exhibitions of photographs by the preeminent documentary photographer,April Saul. Curated by Andrea Packard and Ron Tarver, the exhibitions will take place March 2—April 3, 2016 and are accompanied by a 60-page exhibition catalog. The List Gallery will feature Camden, NJ: A Spirit Invincible, which features approximately 50 images from Saul’s ongoing body of work documenting life in Camden, New Jersey. McCabe Library’s atrium gallery space will feature more than 25 photographs selected from Our American Family, a body of work that combines numerous series made possible through the artist’s ongoing connection to diverse individuals and families over years and even decades. McCabe Library hours can be found at: www.swarthmore.edu/libraries/hours. An Artist’s lecture will take place on Wednesday, March 2, 4:30 p.m. in the Lang Performing Arts Center Cinema.

The List Gallery reception will immediately follow, 5:30-7:00 p.m. All events are free and open to the public. A book signing and closing reception will take place in the List Gallery on Sunday, April 3, 3–5 p.m. Free copies of the exhibition catalog will be given to the first 100 visitors. These exhibitions, accompanying catalog, and related events have been funded through a generous grant from the William J. Cooper Foundation. Additional support was provided by Swarthmore College Libraries, the Department of Art, Swarthmore College, and the Kaori Kitao Endowment for the List Gallery.

For more than 35 years, April Saul has photographed American families as they confronted hardships such as poverty, HIV/AIDS, gun violence, addiction, and incarceration. Since 1980, when she became the first female staff photojournalist at The Baltimore Sun, she has provided new perspectives in a field that has not generally encouraged in-depth coverage of family relationships. Already acclaimed as a Pulitzer Prize-winning journalist, her Swarthmore exhibitions and this accompanying catalog mark the first major presentation of her work in a fine art context. Through interweaving documentary, fine art, and social media practices, Saul advocates for underserved families and communities while creating images that are both moving and transcendent.

April Saul, Camden, NJ: A Spirit Invincible, The List GalleryApril Saul, Camden, NJ: A Spirit Invincible,The List GalleryGabriel Gambino “Bino” Crespo, whose father was murdered in Camden, 2013.

McCabe Library’s atrium gallery provides the opportunity to view several extended photo essays. The centerpiece of Saul’s McCabe Library exhibition, Our American Family, consists of selections from Saul’s many long-term photo-essays chronicling the trials and challenges faced by diverse families. Kids, Guns and Violence: a Deadly Toll consists of Saul’s written and photographic profiles commemorating each of the 24 children killed in the Philadelphia region by gun violence during a single year. Another series, Between Genders, portrays the experiences of Renee Ramsey, a Navy Veteran who was born anatomically male and pursued gender reassignment surgery at the age of 77.

April Saul’s List Gallery presentation, Camden, NJ: A Spirit Invincible, offers selections from her ongoing series of photographs chronicling life in that troubled city. Her images are alternately heartbreaking or uplifting: an anguished firefighter turning in her badge, a panoramic shot of a boxing tournament in the middle of a city street, an image of a girl playing in front of boarded-up homes. Striving to avoid voyeurism and objectification, she has developed relationships with individuals, families, and communities over time. Some photographs on display in the List Gallery were selected from the hundreds of images Saul has taken since 2014, when she became an embedded photographer at Camden High School.

As a participant-observer, Saul is careful to portray the successes that are often overlooked in the community. Saul publishes such affirming images, as well as sobering ones, on her Instagram feed and Facebook page, Camden, NJ: A Spirit Invincible. Online, community members not only view, download, and share Saul’s images but also provide their own commentary. Her Facebook page exceeded 95,000 views in one week. Thus, the photographs on display at Swarthmore College are part of an interactive and ongoing community dialogue.

Artist’s Biography

A Pulitzer Prize-winning photojournalist,April Saul made Camden, New Jersey her unofficial beat while working at The Philadelphia Inquirer, and has continued to document that community with the help of an Alicia Patterson Foundation Fellowship and a National Press Photographers Association Short Grant. A graduate of Tufts University with an Master’s Degree from the University of Minnesota, Saul became the first female staff photographer at The Baltimore Sun in 1980. She joined The Philadelphia Inquirer photo staff the following year. A single mother of two, Saul has won numerous honors for both her writing and photography including the Robert F. Kennedy Journalism Award, the World Press Photo Budapest Award for Humanistic Photography, two Casey Medals for Meritorious Journalism, and many awards in the Pictures of the Year International contest.

In 1997, Saul—along with Philadelphia Inquirer reporter Michael Vitez and photographer Ron Cortes—was awarded the Pulitzer Prize in Explanatory Journalism for a series of articles on end-of-life care. She was a finalist for the Pulitzer Prize for Feature Photography in both 1994 and 1987. In 1985, she was the first recipient of the Nikon/ NPPA Documentary Sabbatical Grant for her work on Hmong refugees, and over the course of her career, has been named Photographer of the Year by the NPPA Northern Short Course, the Pennsylvania Press Photographers Association, and the New Jersey Press Photographers Association.

Thank you to Raven Bennett, Swarthmore College Class of 2017 for the content of this post.

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Objet D’art

Objet D'art: Photography Exhibition, Church St. Art & Craft Gallery of Mt Holly, NJ, Jeff Stroud

Objet D’ Art, Group Photography Exhibition at Church St. Art & Craft Gallery, Curator Jeff Stroud

Call to all local photographers! March Photography Exhibition Church St. Art & Craft Gallery of Mt Holly, NJ, has invited me to curate this year’s photography exhibition which will be held in March 2016. The theme this year is:  Objet D’ Art:  A small object that is valued because it is beautiful or interesting; an object that artist value.

The theme here is to show your creative artistic side by exhibiting small objects you find in your home, everyday object you use or collection, or any small found objects that catch your imagination while creating a single image of fine art.

Drop off dates Feb 26-28th during business hours WednesdayFriday 11-6:00 pm, Saturday 10-6:00 pm. Sunday 12-4:00 pm 

There is a $10 submission fee.  You may submit up to 3 photographs, framed and properly wired for hanging.  The show will run from March 2nd through the 26th and we will be holding a meet the artists reception on March 12th from 4:00 – 6:00 pm. Open to the public and there will be refreshments served.

I look forward to hearing from you as well as curating this exhibition. You are welcome to invite friends and share this post with other photographers.

Objet D’art: Photography Exhibition, the exhibit for the month of March at Church St. Art & Craft Gallery will be non-juried and curated by our guest photographer Jeff Stroud.

Theme: Objet D’ Art:  A small object that is valued because it is beautiful or interesting; an object that artists value. 

“The theme here is to show your creative artistic side by exhibiting small objects you can find in your home, everyday object you use or collect or small found object that catch your imagination while creating a single image of fine art with blurred/bokeh background.” – Jeff Stroud

Objet D'art: Photography Exhibition, Church St. Art & Craft Gallery of Mt Holly, NJ, Jeff StroudFor any questions regarding the theme or medium, please contact Jeff at jeffstroud.52@gmail.com

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In/Dwelling

In/Dwelling: Meditations on Built Environments as Cultural Narrative

The Galleries at Rowan presents

In/Dwelling: Meditations on Built Environments as Cultural Narrative
February 22 – April 14, 2016

Introducing our new location 301 High Street, Glassboro New Jersey

Artist’s talk and reception Thursday, February 25, 5 – 8 pm

Rowan University Art Gallery at High Street explores built environments, both external and internal, as emblems of a cultural past, present, and future with In/Dwelling: Meditations on Built Environments as Cultural Narrative. The exhibition is on display from February 22 to April 14, with an artist’s lecture and reception onFebruary 25 from 5:00 – 8:00 p.m.

We are compelled to imagine a time when architectural spaces and objects were new representations of manufacturing, design, and aesthetic tastes and trends. The urban / suburban motifs have time and again provided artists with the perfect vehicle in which to explore universal topics such as: the complexity of infrastructure, commerce, demographics, and identity as inspiration to create new work. In this exhibition the participating artists imbue architectural structures and domestic objects with interpretations of historical experiences, social customs, and emotional memories as a cultural narrative. Artists include Philadelphia based artists: Lewis Colburn, Ben Grasso, Kay Healy, Erin Murray, and Miriam Singer. Chicago based artist Ann Toebbe, and New York based artist Brian Tolle. A work by Louise Bourgeois is included courtesy of the gallery permanent collection.

The catalyst behind the framing of this exhibition concept was the print Femme Maison, 1984, by Louise Bourgeois from the gallery collection. Femme Maison, which means both “woman-house” and “house-wife,” is one of Louise Bourgeois’s most famous motifs. For the artist, who was raised in France, the home was closely connected to female identity. By combining residential architecture and the curvaceous female body, Bourgeois portrays a woman who is obscured and entrapped by the domestic realm that she simultaneously supports.

The selected artists for this exhibition approach domesticity, architecture, and everyday objects from singular and accumulative perspectives. Brian Tolle creates a cross-wiring of reality and fiction in his sculptures and installations and blurs the border between the contemporary and historical with recurring themes of architecture, site, and technology. Lewis Colburn, of Philadelphia, sees objects as unreliable tour guides. He investigates ways in which we re-interpret and re-tell the past through the filter of our current experience. Ben Grasso, of Brooklyn, NY, presents a re-imagining of what actually exists and recasts these things in new terms creating a re-alignment of logic that makes plastic the anxiety underlying objects in the world through his painting. Miriam Singer, looks perceptually at multiple locations in Philadelphia and expresses the fragmentation of a fictional city as a collage of noise, pattern, and density.

By recounting memories of unique, collective, or habitual memories these artists investigate identity and history through interior and exterior experiences. Kay Healy, a Philadelphia based artist, creates large-scale screen printed and stuffed fabric furniture based on other people’s descriptions of their childhood homes and investigates how we relate to objects and cope with the fact that there is no way to truly return home. Ann Toebbe, a Chicago based artist, creates meticulous paintings using reconstructed memory and multiple perspectives to depict domestic and architectural spaces in cut-out paper doll fashion. Erin Murray, of Philadelphia, relates to buildings and built forms as being understood to represent our physical body, our cultural history, our economic reality, and our long-formed habits.

Brian Tolle, from New York, offers a lecture on February 25. He has completed several public art installations in New York, including the Irish Hunger Memorial in New York City. He has exhibited around the world and his work is included in numerous museum collections. He holds a B.A. in Political Science from SUNY at Albany; a B.F.A. from Parsons the New School for Design, NY; and an M.F.A. from Yale University in New Haven, CT.

The lecture will be presented at Westby Hall Room 111 beginning at 5:00 p.m. A reception follows at 301 High Street in Glassboro at 6:00 p.m.

Shuttle vans will be provided for guests traveling from Westby Hall to High Street. Return service will not be provided, but High Street is only a 15-minute walk away. Free public parking is available on High Street and neighboring streets. Municipal parking areas are available off Lake Street (behind Little Beefs Deli) and near the Barnes and Noble shopping complex between New Street and Rowan Blvd.

In/Dwelling: Meditations on Built Environments as Cultural NarrativeImages: top, Brian Tolle, Outgrown, platinum silicon rubber, toys. Courtesy the artist and CRG gallery. Bottom: Ann Toebbe, Jim’s Apartment, paper, gouache and pencil on panel.

Thank you to Rowan University Art Gallery for the content of this post.

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Studio

Bruce Garrity, Studio VisitBruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, detail of large painting, photograph by Jeff Stroud

Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work

“I am really into architectonic, geometric abstract art like Sangram Mujamdar. He’s a really good painter, he’s Indian, American, teaches at MICA, you would probably like his work. I don’t know that I’m influenced by him but he’s somebody who is a contemporary, and I think my work somehow relates to his and what he’s doing. it’s also that they are representational that I like about them. There’s a few people around like that, Gideon Bok in Boston, they are more about perception.”

bruce5Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

The studio on the Rutgers campus has high ceilings, big widows, rolling lockers and space to paint big. Bruce Garrity‘s paintings are big, really big. So big that when he show’s them he has to rent a moving van. But the flexible space isn’t crowded and I didn’t notice any paint smell so I guessed the vivid paintings were acrylic.

“No, these are all oil paintings. We don’t use very much turpentine and usually what you smell is turpentine, I don’t use it very much. There are some passages that are sort of washy, but they were painted a while ago. I don’t use a lot of medium, I use a little bit of this alkyd because I need them to dry. But normally, I don’t even put any of that into it, it’s the oil paint, it’s thick, but it’s just the paint.”

I like using Liquin, but it smells. It’s good for outdoors but my studio smells like fumes.

“I just use a little and then the smell goes away after a day or two. In here it’s gotten to the point where we don’t use that much. My students have one can that they all wash their brushes in and that’s about it. We go though maybe a quart of turpentine per semester.”

I’ve been using Gamsol to clean my brushes.

“Some people say that’s a problem because you just don’t smell it, there’s still fumes in the air. There’s a school of thought that it’s better if it smells a little bit because then you’re aware of it in the air. We use a little of it so there’s not a lot of it in the air.”

bruce4Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Bruce, you’re canvasses are huge, I struggle with just small ones.

“You know, it’s the scale. The scale that I’m comfortable with is essentially life-size at the picture plane. So, if I make a figure, the whole figure is six feet tall. So, it really has to do with the scale more than anything else. I like big paintings, too. But they’re a pain in the ass. You have to have to right space for them. But, you know, it’s how I like to paint. It is what it is.

That big one out there, the one that’s in the other room. That was a completely different painting in 1995. I showed it down here in the Stedman Gallery and it had a big dinosaur, and a jeep, and a bunch of other things. It was sort of like a museum/circus vibe, I was big into that back in the 90s. I kept it, because obviously no one was going to buy it. So at one point I just white-washed the whole thing.

Towards the end of the time that I was in graduate school that’s when I started to paint landscapes. I painted pretty heavily because I was in graduate school and I started do this waterfall bit that is kind of like what I would see up in the Poconos when we went on vacation. And then I started putting these figures in, kind of like Cezanne’s Large Bathers, it’s kind of like the Large Bathers of the Poconos.”

bruce3Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Do you have people model for you?

“Some of them are. Either from models who were here. some are taken from drawings, photographs, a bunch of different stuff. Some are the top half might be one person and the bottom half might be someone else. They’re kind of Frankenstein-ed together, I don’t know that I would normally do that, but, that is basically how Cezanne did his. For a guy who was basically known as a perceptual painter, always painting what was in front of him, all the Bathers paintings, he made tons of them, were all from out of his head or old sketches. I think he even did some of them out of fashion magazines that his sister had. So, he was imagining girls with their clothes off, I guess.

Apparently, he was like nervous around models. It wasn’t like he never had nude models, but they made him nervous-er. I always thought that was really interesting, and everybody I always talks about the stuff that he did, looking at it perceptually, but going forward, the Cubists looked at those paintings and that’s where they got permission to do what they did. It was like, ‘He can do it. Why can’t we?'”

bruce2Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Will you be showing this at your show at 3rd Street Gallery?

“Oh, yeah. It will probably be about twenty paintings. There are seven or eight big things, and a bunch of little things. We will be showing in the annex as well and there are some spots the smaller pieces will look well. I’m showing with Katherine Kurtz, she does some abstract things, some are more figurative. I would say she’s mainly an abstract painter but here she’s showing more figurative, DeKooning-ish, kind of figurative things.

The pairings at 3rd Street Gallery are kind of random, but sometimes you get these connections that are interesting. I’m looking forward to it, I like Katherine a lot. I like her work. And my work doesn’t always play well with others, they’re overwhelming and colorful and big. But I think our things are going to look good together.”

bruce6Bruce Garrity, Studio Visit, Rutgers-Camden, Recent Work, photograph by Jeff Stroud

Recent Work Bruce Garrity

September 2 – September 27, 2015

FIRST FRIDAY: September 4, 2015, 5:00 – 9:00 pm

ARTIST RECEPTION: Sunday, September 13, 2015,1:00 – 4:00 pm

Bruce Garritys poetic figurative paintings utilize a broad vocabulary of painterly means in the pursuit of visual drama. The surfaces of the works range from light washes, direct drawing, scumbles and layerings to heavy impastos of the mostly saturated color palette. Garrity draws on various methods of construction, to bring the works to fruition: direct perception, memory, invention and combinations of these. The paintings, some as large as eight by ten feet, depict figures and objects life size at the picture plane so one feels they can be entered and engaged directly. They are autobiographical of interests over a long period of time.”

The artist will present a walk through gallery talk on Sunday, September 20th beginning at 2pm.” 3rd Street Gallery

Written by DoN Brewer except where noted.

Photographed by Jeff Stroud

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