Category Archives: Oil Paint

Leaf

Bill Scott, Hollis Taggart GalleriesLeaf and Line, oil on canvas, 63″ x 42″, Bill Scott, 2017

Bill Scott: Leaf and Line, Hollis Taggart Galleries

This month, Hollis Taggart Galleries will present Bill Scott: Leaf and Line, the artist’s seventh solo exhibition at the gallery, featuring twenty-five of Scott’s recent paintings. A catalogue accompanies this show with condensed critiques by eight contributors – artists, curators and writers – who offer very personal and inspired reactions to the painter’s lively compositions.

Bill Scott’s new body of work is rooted in his classic vibrant palette, fluid brush strokes and masterful balance of abstraction. Propelled by inspiration from nature, the painter continues his exploration of form and color in a fresh way. References to the natural world, details of leaves, blades of grass, branches and discernible elements of flora are boldly juxtaposed against areas of pure hues and spirited abstraction that dances with myriad details. The show once again is a testament to Scott’s imposing ability to dance the line between abstraction and representational, creating a tension in the viewer’s mind that asks the question; do we know this scene that is depicted before us? It is through this tension and this line of questioning that the viewer’s curiosity is peaked.

Bill Scott, Hollis Taggart GalleriesA Storybook October, oil on canvas, 48″ x 45″, Bill Scott, 2017

Demonstrating the confidence and control of a seasoned painter, Scott’s most recent studio offering reveals a freer, more expansive pictorial space and use of white. The surfaces of the works are comprised of layer after layer of paint – a skill he has been honing his whole career.  Complex, but never muddy, the overlapping elements in the paintings appear both spontaneous and carefully arranged at the same time.  A Garden in the Studio bursts with energy and is like most of Scott’s work, an affirmation of the sheer joy of painting. Similarly, in Leaf and Line, vague pictorial plant references are placed among undulating free forms of shapes and color and all set against a dramatic expanse of yellow in the upper quadrant. Harmony is always achieved with the painter’s virtuoso talent and pure intuition to combine hues, structure and movement.

Bill Scott, Hollis Taggart GalleriesHomage, oil on canvas, 60″ x 55″, Bill Scott, 2017

Scott, who lives and works in his native Philadelphia, spent what he considers to be pivotal periods of time working alongside Joan Mitchell in France and Jane Piper in Philadelphia.  He formally began his career studying at the Pennsylvania Academy of the Fine Arts in 1974, an institution at which he was to become a teacher for many years.  He is represented in countless museums, private collections and institutions, and he is a noted scholar on the work of the French Impressionist, Berthe Morisot.

Bill Scott: Leaf and LineHollis Taggart Galleries , Chelsea, 521 W 26th Street, 7th Floor, New York, NY 10001

March 15th through April 28th, 2018

Thank you to Ginx Hudgins for the content of this post.

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Calm

Deann Mills, March 2018 at Muse GalleryHeat Rises, 48” x 48”, oil on canvas

Madness and Calm,

Deann Mills, March 2018 at Muse Gallery

March 1st through April 1st, 2018, Muse Gallery52 North Second Street, Old City, Philadelphia, 19106, 215. 627. 5310

First FridayMarch 2nd, 2018 from 5:00 – 8:00pm

Artist’s receptionSunday, March 11, 2018 from 2-5 pm

Artist Statement:

“When starting a painting, I try to be crazy and paint with whatever feels good at the moment:  old acrylic test paint, rollers, squeegees, stir sticks, wire mesh, oil sticks, and lots of smearing and dripping.  It is pure madness and lots of fun.  After a time, the painting has to calm down, be edited, have a composition and hopefully a dominant color.  My paintings are all about the tension between madness and calm, my striving to keep the energy, chaos and color while imposing an order and coherence.”

Mission: Established late in 1977, the Muse Gallery is an artists’ cooperative dedicated to encourage and promote its members’ artistic expression through abstract, conceptual and representational forms. Reflecting an aesthetic that awakens awareness, the Muse Gallery affirms the shared experience of art between the artist and the community.  Please see the membership page to view a detailed history of Muse.

To join the Gallery: Muse Gallery is always interested in potential new members. We are often fully staffed and maintain a waiting list. Please visit our membership page.

Thank you to Charlene Lutz for the content of this post.

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InvisAbility

InvisAbility, Art in City Hall Gallery

InvisAbility

February 12 – March 23, 2018
Office of Arts, Culture and the Creative Economy, Room 116
Reception: March 7, 2018, 5-7 p.m. in Office of Arts, Culture and the Creative Economy, Room 116

The Office of Arts, Culture and the Creative Economy presents InvisAbility, an exhibition featuring the work of professional artists with disabilities. The exhibit is in partnership with five programs from the Philadelphia region that provide opportunities to artists with disabilities: Allens Lane Art Center’s Vision Thru Art programArt Ability from Bryn Mawr Rehab Hospital, Center for Creative WorksCultural Arts Center of SpArc Services, and Moss Rehab’s All About Art program. The exhibit is featured in City Hall within the Office of Arts, Culture and the Creative Economy, Room 116. A reception is tentatively planned for March in celebration of Intellectual and Developmental Disabilities Month.

37 Featured artists:

Meri Adelman, Nancy Alter, Robin Antar, William Bolds, DoN Brewer, Joanne Brothers, Kelly Brown, Ronald Bryant, Elizabeth Core, Martha Cowden, Jenny Cox, John Creagh, Charles Domsky, Alysse Einbender, Gerard di Falco, Terri Fridkin, Zila Friedman, Gregory Gans, Michael Gieschen, Cindy Gosselin, Tim Heflin, Clyde Henry, Michael Hogin, Thomas Jennings, Cindy Lally, Sarah Lewis, Eric Mohn, David Neiser, Timothy O’Donovan, Olubunmi Ojo, Victoria Pendragon, Randy Perin, James Sanders, Carla Schaffer, Sriharsha Sukla, Maxim Tzinman, Anthony Zaremba.

As an exhibition without any apparent central subject matter, InvisAbility is a break from City Hall’s standard juried thematic showcases. However, it does follow a trend of recent exhibits aimed at raising awareness of Philadelphia’s diverse and talented cultural community. InvisAbility affirms the notion that within the People’s Building, the people behind the art, their stories and concerns matter as much as the art they create. By weaving art with identity, the show aims to provide some insight into the creative experience of artists living with a disability, and perhaps even challenge traditional notions of quality.

Artist Nancy Alter:

“My current work reflects personal physiological struggles in the day to day struggles with my MS symptoms. Through the deconstruction and reconstruction of monotype prints, there is great satisfaction on how unrelated pieces fit together to make a whole. It is an expression of push and pull and the physiological rhythm of the body.”

Artist DoN Brewer:

“Living with Crohn’s disease has both positive and negative effects of my artwork. On the one hand, I stay home on the computer a lot and have created an on-line persona that reaches a wide audience. On the other hand, sometimes I don’t feel well enough to travel to art shows and events, to attend art workshops or even to write my art blog. My fans don’t know me as a disabled person; they support me for who I am, as an artist.”

InvisAbility runs thru March 23rd.

Questions about Art in City Hall? Contact City Hall Exhibitions Manager Tu Huynh, tu.huynh@phila.gov or call (215) 686-9912

Thank you to City Hall Exhibitions Manager Tu Huynh for the content of this post.

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Far

Far From The Tree, Katherine Fraser, Paradign Gallery + StudioThe War of Independence, oil on canvas, 54″ x 60″

Paradigm Gallery + Studio is pleased to present
Far from the Tree

A solo exhibition of new oil paintings by artist Katherine Fraser on view February 23 – April 21, 2018.

In her third solo exhibition with the gallery, Katherine Fraser draws inspiration for Far from the Tree from fables and explores what it means to have control over our own destinies. Universally-known stories and endings are suddenly given the ability to change. The artist’s most cohesive series to date, each character is presented with the agency to alter their own outcomes.

In the work, The War of Independence, the natural beauty of the Acadian National Park
acts as the backdrop. Having grown up in rural Maine, the landscape is a reference to
the artist’s childhood – a symbol of a time when Fraser felt her most strong and
independent.

Fraser says, “When I use the rural landscape in my paintings it symbolizes
the homeland; I use it to create a feeling of peace and protection. I mostly paint solitary
figures, and being alone in nature is the best kind of alone. In nature I feel most myself,
vibrant, and at one with the world.”

Fraser’s figurative compositions ‘depict moments of quiet reflection and insight, of wonder, vulnerability, yearning, determination, humility, strength, and growth’. She cites realist painters Edward Hopper and Bo Bartlett as influences, but also sees parallels between her work and photographers like: Diane Arbus, Mary Ellen Mark and Sally Mann. All of these artists act as storytellers, capturing individuals in moments and settings with a great deal of intimacy.

Far From The Tree, Katherine Fraser

By Example, oil on canvas, 56″ x 74″

Classically trained, Fraser exclusively works with oil paint for its flexibility and luminosity, striving to make her paintings beautiful, but also to emotionally engage with the viewer. Fraser likes to draw attention to dynamic and conflicting emotions within individual characters. In her overall practice she seeks to portray ‘our continual need to reckon expectations with truth, and the struggles we endure to feel satisfaction with our choices’.

In Far from the Tree, Fraser asks the viewers, “how much power do we really have to
change the narratives of our own lives”?

ABOUT PARADIGM GALLERY + STUDIO

Established February 2010, Paradigm Gallery + Studio started as a project between co-
founders and curators, Jason Chen and Sara McCorriston, to create a space to make artwork, exhibit the work of their peers, and invite the members of the local community to make their own artwork in a welcoming gallery setting. Over the years, Paradigm Gallery + Studio has become a gallery of diverse contemporary artwork from around the world, while maintaining a focus on Philadelphia artists.

ABOUT KATHERINE FRASER

Katherine Fraser has been exhibited in galleries and museums throughout the United
States. She is a graduate of the Pennsylvania Academy of the Fine Arts and of the University of Pennsylvania. As a student she received the Thomas Eakins Painting prize, the Cecelia Beaux Portrait prize, and the William Emlen Cresson Memorial Travel Award, among others. Since graduating in 2002, she has received awards including the Lucy Glick Award and the Victor Klein Family Award. Her work has been published in Studio Visit Magazine, Philadelphia Weekly, Die Blumen die Frauen, The Fertile Source, New American Paintings, The Southern Review, the Best of American Oil Painting, and more. Her work may be found in many permanent and private collectionsmnationally and abroad.

Paradigm Gallery + Studio 746 S. 4th Street, Philadelphia, PA, 10147

Thank you to Madison Fishman for the content of this post.

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Tom Brady

Tom Brady, Borrelli's Chestnut Hill GalleryTom Brady, Cottman Bus People, oil on canvas, 40″ x 53″

Tom Brady, New Paintings

Join Borrelli’s Chestnut Hill GalleryOne East Gravers Lane, Philadelphia, PA 19118 for an Artist’s Reception with renowned oil-painter, Tom Brady 10/7/17 6:00 – 8:00 pm, Exhibit 10/1- 10/21

Thomas G. Brady attended the Heatherly School of Art, London, England in 1972. He received a BA from Amherst College, attended the New York Studio School and received his MFA from the Tyler School of Art in 1982. Tom has exhibited in galleries and museums throughout the East Coast. He was the recipient of a painting Fellowship from the Pennsylvania Council on the Arts, a Pew Fellowship Award and the Pollock Krasner Foundation Grant in 2000. His work is included in the permanent collections of  the Eleanor D. Wilson Museum, The Woodmere Art Museum, and the Mead Art Museum. His work is also in numerous private and corporate collections throughout the country including Widener University, Morgan Stanley, Lenfest Foundation, SmithKline, Saul Ewing, Drinker Biddle, Blue Cross and Core States Bank.

Tom Brady, Borrelli's Chestnut Hill GalleryTom Brady, Maggie’s Car Repair, oil on canvas, 30″ x 40″

Tom Brady’s paintings differ from the antiquated 19th century Philadelphia tradition of realism, the aesthetic associated with the teachings of the Academy. They are instead in the tradition of the Blaue Reiter and Fauvist art movements. This aesthetic emphasizes painterly qualities and strong color more than realistic representation. The metaphor created by Brady’s work speaks to the experience of the moment and to the place where reality meets abstraction..

Group Show in Center Gallery

Don’t Miss the exceptional Artists in Borrelli’s Chestnut Hill Gallery during the month of October, as well.  Featuring Helene Halstuch, Judy McCabe JarvisDan Brewer and Betz Green.  Most will be on hand at 10/7 reception to greet and meet.  Please check the Gallery website for examples of their work.

Tom Brady, Borrelli's Chestnut Hill GalleryTom Brady, Through The Trees, oil on canvas, 28″ x 37″

Artist Statement

“Art always makes a political statement. Half of art is what you choose to paint, the other half how you paint it. I choose to paint workers, people on the streets, landscapes inhabited by family farmers invisible to the corporate life. I grew up the only son of a truck driver when unions equaled freedom and workers were crusaders in the cause.

On a chilly morning, I stand off to the side, color pastels and sketchbook in hand; people are huddled, waiting and watching; cabbies sip coffee; black suits rush by. The bus pulls up, the old guy stands, cane leading, he moves in line to board. The bus, the line, the man and the cane create the moment, and my frantic drawing begins.

In the studio with fifty colors and just as many brushes, music blaring, I attack the painting. All at once, creation in a moment, cover all the canvas, mark against mark, movement and counter movement, yellow always yellow, gobs of white, cans of turpentine, piles of rags. Paint over paint, colors upon colors makes new colors, sensuous and gestural. What are the essentials, what is real, what is important, what is true?

Two processes are intricately related, the initial inspiration of the street pastel and the physical transformation of the image into paint. These are simple processes as long as you are willing to throw out forty of the fifty initial pastels and from the few that are really are inspirational, willing to make fifty new preparatory drawings. Then you paint for 40 years, hope and pray and with a little luck, the culmination of the processes has magically taken on a life of its own.”

Check Out Tom’s Youtube channel for more samples of his work: https://www.youtube.com/watch?v=AB0O5O9GJbE&t=2s

Thank you to Tom Brady for the content of this post.

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