Will Lustenader | Steve Bartlett
January 26 - March 8, 2019
Steve Bartlett is a sculptor living and working in Maine. His work sometimes references the natural world while other times there is more uncertainty and less definition. Using a self taught wood construction technique, Steve’s pieces are constructed in an intuitive and evolutionary process. Recently he has been adding shapes in paint to his forms. Steve has shown mostly on the West and East Coasts since graduating from Kenyon College in Gambier, OH in 1984. His sculpture is in the collections of the University of Maine Museum of Art, The Port of San Diego, Neiman Marcus Group, City of Los Altos CA, and United Airlines among others, as well as numerous Private Collections.
Will Lustenader’s new abstract body of work addresses spatial issues as well as the exploration of color and textural relationships. Lustenader’s masterful painterly technique draws a distant dialogue with renaissance through 19th century painting as well as tipping his hat to the modern masters. Will Lustenader lives and works in New Haven, CT. Lustenader received his MA from the Courtauld Institute of Art at the University of London and his BA from Vassar College in Poughkeepsie, NY. His work has been included in numerous exhibits, including the San Diego Art Institute (2009), the Neuberger Museum (2008), and The New Britain Museum of American Art. His work can be found in many private and public collections.
Outsider Art Fair NYC
January 17 - 20, 2019
Fred Giampietro Gallery is thrilled to be exhibiting a selection of exceptional Folk Art alongside seasoned and emerging Outsider artists in the 2019 Outsider Art Fair NY.
125 W. 18th Street
New York, NY 10011
Thursday, January 17, 2019
VIP Early Access Preview: 2:00 PM - 6:00 PM
Vernissage: 6:00 - 9:00 PM
Friday, January 18, 2019: 11:00 AM - 8:00 PM
Saturday, January 19, 2019: 11:00 AM - 8:00 PM
Sunday, January 20, 2019: 11:00 - 6:00 PM
Power Boothe & Jonathan Waters
October 13 - November 10, 2018
Power Boothe has had over twenty one-person exhibitions and his work is in many public collections, including the Guggenheim Museum, the Whitney Museum of American Art, and the Wadsworth Atheneum. He has been awarded a Guggenheim Fellowship for Painting, a National Endowment Individual Artist’s Fellowship, and a Pollock/Krasner Fellowship. Power Boothe is a Professor of Painting at the Hartford Art School, University of Hartford.
Jonathan Waters received his MFA from Yale University in 1977. While living in NYC, he was an assistant to sculptors Mark di Suvero, Charles Ginnever and Richard Serra. Waters has exhibited extensively throughout the Northeast. Recent large-scale projects include new work at the Governors’ Residence and Bushnell Plaza in Hartford, Connecticut and The Samuel Chester French Estate in Stockbridge, Mass.
Clint Jukkala & Hawkins Bolden
September 8 - October 6, 2018
Clint Jukkala's paintings combine color, geometry, and textured surfaces to create images that hover on the edge of nameable things. Ostensibly abstract, his work evokes real world references, suggesting figures, architecture, and landscape elements. Eye-like openings and framing devices orient the viewer, making them question their own perceptions. A play between part and whole ensues as the paintings configure and reconfigure through the act of looking. Clint received his BFA from the University of Washington in Seattle, and his MFA from Yale University. His work has been shown at Feature Inc., and Envoy Enterprises in New York, The deCordova Museum and Sculpture Park in Lincoln, MA, Tiger Strikes Asteroid in Philadelphia, PA, VOLTA NY 2013, The Currier Museum, and Soil Gallery in Seattle. Jukkala is currently the Dean at the Pennsylvania Academy of Fine Art.
Hawkins Bolden (1914-2005) was born in Memphis, Tennessee. At age seven, Boldensuffered a severe blow to the head from a baseball accident that resulted in the loss of his eyesight, which he never regained. Despite this disability, he made visual/tactile art for most of his life. Using broken furniture, carpet scraps, discarded kitchenware, old clothing and other castoffs that he came across during his rounds as a gardener and clean-up man in urban Memphis, Tennessee, he constructed the scarecrows, guardian figures, abstract assemblages, and wind-activated noise-making devices that he originally made to display in his yard.
Emilia Dubicki & David Smalley
June 2 - July 20, 2018
Emilia Dubicki is a Connecticut based artist. Her paintings are primarily abstract, but sometimes representational imagery is integrated into the work. She has received residencies from the I-Park Foundation, the Vermont Studio Center; and the Wurlitzer Foundation. In summer of 2017 she showed paintings at Five Points Gallery in Torrington, CT and in summer 2016 she had a show at Fred Giampietro Gallery, New Haven, Connecticut. Her paintings are in numerous private and corporate collections.
David Smalley (1940-2015) created sculpture for over five decades. Most of his works are in the medium of direct welded metal, stainless steel, bronze and aluminum. He also worked in glass, and many of his later works are composed of laminated wood. Many of his sculptures are kinetic.
Blinn Jacobs & Robert Reed
with works by Clint Jukkala
April 28 - May 25, 2018
The work of Robert Reed has been exhibited internationally and has been included in exhibits at the Albright-Knox Art Gallery, the Biennial of the Whitney Museum of American Art, the Hirshhorn Museum, the Walker Art Center, the Minneapolis Institute of Art, and the Yale University Art Gallery. His solo exhibits include the Whitney Museum of American Art; the Bayly Museum in Charlottesville . . .
The shaped canvases of abstract artist Blinn Jacobs push the boundaries between form and surface in painting. She creates abstract works on shaped canvases, yet her works are imbued with a painterly quality through the use of soft, muted color palette and graphic, textured lines that reveal the artist’s hand. “I am interested in using a variety of materials, sometimes in whimsical and surprising ways that playfully undermine the geometric formality of the work . . ."
Richard Lytle & Casey Koh
March 17 - April 21, 2018
Painter Richard Lytle was included in the famous “Sixteen Americans” exhibition at the Museum of Modern Art in 1959. But unlike his counterparts Frank Stella and Ellsworth Kelly, who favored hard-edged, Minimalist painting, Lytle has continued to draw inspiration from the organic world throughout his career. A graduate of the Cooper Union and the Yale School of Art (where he remained a valued member of the faculty for four decades), Lytle began his career as an assistant to Josef Albers in basic drawing and color instruction. Mastery of color is a hallmark of Lytle’s work, whether in his detailed studies of flora in watercolor and charcoal or in his fantastical botanical landscapes, so detailed that they begin to loop back into abstraction.
New Geometry II
February 10 - March 10, 2018
It was 1968 and the first day of New Geometry at Cheshire High School. The teacher passed out the textbook, informing students that a new one was on order and would arrive soon. The old textbook, from the 1950's with it’s solid maroon cover, seemed daunting, having more information than anyone could ever learn. Nerves were heightened with the arrival of this “new” version. It had a jazzy green and pink cover and was full of hard-edged 1960's graphics and color. It soon became clear, that although this new book was teaching the same lessons, it was presenting a fresh perspective. While the rigor was still present, there was a degree of levity that seemed to open a door. “New Geometry” is inspired by those first few days of New Geometry in 1968.
We are pleased to present the work of Amy Vensel, Will Lustenader, Don Voisine, Ruth Hiller, Robert Storr, Power Boothe, Steve Bartlett, Elisa Lendvay, Gregg Blasdel, Grace DeGennaro, Barbara Holt, and Anonymous.
Aftermath John Keefer • Kurt Steger
January 6 - February 3, 2018
Aftermath brings together two artists, John Keefer, painter and Kurt Steger, sculptor. Each grapples with the after-effects of violence on one hand and the environmental imprint on the other. This show is about the intersection of this current dilemma. John Keefer writes, “A painting can almost always be sufficiently bad, but nothing can ever really be good enough to express how beautiful, sad, horrifying, funny, sweet, hopeless… it all is." Kurt Steger writes, “The stain left by the fugitive materials refers to the destruction of nature and the devasting imprint that humans have imposed on the environment.”
Sam Messer FEAR NOT
November 18,- December 23, 2017
"This is the story of relationships . . ." - Paul Auster
"Fear Not", is an exhibition of work spanning 25 years by Sam Messer. His passion for portraits of artists, typewriters, bridges and even tyrants will come to life through this exhibition. Among the selection of iconic paintings and sculptures, is a short animated film titled, YEAR OF THE COCK, which document Messer's repose to the first 100 days of the Trump administration . . .
Riley Brewster recent paintings and works on paper
October 14 - November 11, 2017
“A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is therefore risky to send it out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent.” – Rothko
“In creating a narrative of scale, light, shape, and surface the paintings become a record of accumulated decisions; Affirmations, denials of time recorded and remarked . . .” –Brewster
At first glance, the paintings of Riley Brewster appear to be minimal and mute. It is the subtle shifts in color and texture that lock hold of the viewer’s eyes and eloquently move them through the deep woven layers, exposing the true complexity of the composition’s structure. What had once appeared to be blue appears now, to be red. What had once felt very close now seems very distant. Riley Brewster's mastery of the nuances of texture and color is enhanced by the artist’s sensitivity to composition, form, and materials.
Brewster, was educated at Bowdoin College, in Maine, and received his MFA in Painting, from Yale University. He has taught at many institutions, including, Hampshire College, The New York Studio School, Dartmouth University, Bowdoin College and The University of Washington. His work has been exhibited throughout the United States. Brewster's work can be found in both private and public collections including the Davis Museum of Art, the Museum of Art (Portland, Maine) Vermont Studio Center, and the Yale University Museum of Art. Riley has also been awarded many residencies and fellowship opportunities, including, Visiting Artist Residency from Vermont Studio Center, Painting Fellowship from the Ingram Merrill Foundation, Painting Fellowship from the Pollock/Krasner Foundation, and a Painting Fellowship from the Esther and Adolf Gottlieb Foundation.
Under the Apple Tree Elisa Lendvay | Becky Yazdan
September 9 - October 7, 2017
Fred Giampietro Gallery is pleased to announce an exhibition of works by Elisa Lendvay and Becky Yazdan, with works by Judith Simonian.
“The Apple Tree can be seen as a sanctuary or a shelter, or it can be seen as beautiful temptation, offering poisonous fruit. In Shel Silverstein’s The Giving Tree, the apple tree exists to make the boy happy, offering fruit to eat, branches to swing on and lumber to build a house. The boy returns as a tired old man and the tree, having sacrificed everything, has nothing left but a stump for him to sit on.”
“And the tree was happy...but not really.” - Shel Silverstein
Becca Lowry • Jane Miller • Elana Herzog
June 10 - July 22, 2017
Fred Giampietro gallery is pleased to bring together the works of Becca Lowry, Jane Miller, and Elana Herzog. Each of these three artists practice deconstruction-reconstruction techniques in their respective works. They all use found and off-the-shelf materials yet the final outcome is transformative and firmly rooted in the Gestalt theory.
Root Rot: Chris Barnard
with works by Michael Angelis
May 6 - June 3, 2017
Fred Giampietro gallery is pleased to present Root Rot, an exhibition of paintings by Chris Barnard.
In this body of work, Barnard focuses on White Supremacy’s relationship to the privileged spaces he frequents, such as art and educational institutions, and the role of those institutions in the perpetuation of racial violence. For Barnard, the particularities of the present socio-political context prompt an array of questions about painting—its purposes, possibilities, imperfections, and implications. What, for example, is and isn’t being depicted, is and isn’t being seen, in artwork? When wrestling with racial violence, what paths might be forged to illuminate without fetishizing, lay bare without lecturing, own up without self-congratulating? What might taking responsibility for Whiteness in order to renounce it look like, rendered in oil, on cotton cloth, stretched on trees? Is it even possible?
DIALECTICAL PRAXIS Celia Johnson | Donald Martiny
April 1 - 29, 2017
Fred Giampietro gallery is pleased to present Dialectical Praxis, an exhibition featuring the work of Celia Johnson and Donald Martiny. Although, Johnson and Martiny approach the process of creation with different points of view, interpretations, and methods, they both seek to establish the truth through reasoned arguments. Each artists share an affinity and uniqueness for the purity and simplicity of color and form.
what a simple thing it seemed, that vast yellow light sailing slowly: Zachary Keeting with works by Daniel John Gadd
February 25 - March 25, 2017
Fred Giampietro gallery is pleased to present what a simple thing it seemed, that vast yellow light sailing slowly, an exhibition featuring the work of Zachary Keeting and Daniel John Gadd. Through an incredible sensitivity to color and surface, Keeting and Gadd invite viewers to experience a series of compositions that explore the raw emotional response to nature, memory, and most importantly, the great impact those closest to them have on their lives. Each Artist’s work embodies a movement that is seemingly spontaneous, and yet after careful evaluation, order miraculously appears mimicking natures own creative behavior.