"Hesitant Muse", oil on linen on panel, 12" x 26"

“The human figure, in all its infinite beauty of rhythm, expressiveness, anatomical structure and design, is inexorably infused with the most complex of features: the individual soul.” – Kamille Corry

"Suspended Fourth" oil on linen, 24" x 20"

Born in Houston Texas in 1966, realist painter Kamille Corry has studied and shown throughout the US and europe. Her studies took her to Italy as well as Mims Studios, an atelier in NC. Delicate, soulful, confident, technically polished, it is easy to see why Corry is considered a “modern master”. Corry is represented by Ann Long Fine Art in Charleston, SC. Visit their site to see more of her work and links to featured articles.

"Precipice to the Soul" oil on linen on panel, 24" x 18"

“…to speak truly, all is idea, all is symbol. So the form and the attitude of a human being reveal the emotions of its soul. The body always expresses the spirit whose envelope it is.” – Auguste Rodin

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"Cherry Grove 4" (2007-08) Oil on Linen, 56" x 79"

Why? Why not? I have to admit that when it comes to abstract work I sometimes find it difficult to coherently articulate the difference between work I appreciate and work I do not.  Doesn’t stop me from trying!  What gets me about the painting below is the sense of movement, depth, and form.  It feels like something is happening here. I am sucked in and want to stay.

"Gradual Motet" (Dublin Ireland) (1997-98) oil on convas, 60" x 48"

These conceptual landscapes are intended as a direct expression of Rutenberg’s inner experience.  In Katherine Mesch’s 2006 Artist Magazine article “Landscape of the Interior: To paint the world outside, Brian Rutenberg first examines the world within” (yes, you do want to read it) Rutenberg describes the ecstasy of creation…

"Summer Swirl 3" (2005) Oil on Linen, 36" x 25"

“It’s to approach a painting and then to stand squarely in front of it until it’s all you see, to project your vitality – your consciousness -  right into the painting.  At first it may resist, but eventually it starts to give in.  And somewhere there’s a tiny, deep, one-to-one, nonverbal, meaningful, human communication…. You almost can’t describe it, but it’s what art’s all about, ultimately.  That’s ecstasy for me.”

I’ll have what he’s having.

"The Fading 2" (2008-09) Oil on Linen, 76" x 56"

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Perhaps it’s that few modern artists are working with silverpoint, or maybe those who do are disinclined to show their work on the web. Either way, I’ve found few modern silverpoint drawings worth posting about.  Thankfully, Koo Schadler nails it.

Jessie Pollack

I had the good fortune of meeting Koo when I was studying with Numael and Shirley Pulido in Hancock, NH.  Later, I took an egg tempera workshop with Koo (at the fabulous studio of Jesse Pollack).

I never seem to have developed the patience for egg tempera.  Still, the workshop was lovely, and Koo is absolutely exemplary as both an artist and a teacher.

A medium I believe I do have the patience for is silverpoint.  Koo describes silverpoint as ” The ubiquitous pencil (a piece of graphite placed inside a hollow tube of wood) wasn’t an option for a Renaissance draftsman, as it hadn’t been invented yet. Instead most early artists learned to draw using a nib of metal stuck in a stylus. Copper, gold, lead, and other metals were used, but a silver point was the most popular.

“Ordinary paper will not work with silverpoint. The metal needs a surface with some tooth if it is to leave its mark. Homemade gesso (made from rabbit skin glue and chalk), used by tempera artists, has both sufficient tooth and a pleasingly smooth drawing surface, and makes an ideal ground for silverpoint.

“The gesso is first toned with powdered pigments and then applied to a panel. The silverpoint line is delicate. It cannot be erased. Like a tempera painting it is generally built up in many, many carefully applied layers. Over time the silver will tarnish, a much-prized characteristic of genuine silverpoint drawing.”





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Beginning, 1958

The first time I saw Kenneth Noland’s work was via a slide shown in an Art History course.   He was (at the time) a living legend of sorts as far as abstract art goes.  Since then Kenneth Noland seems to pop up everywhere.  Apparently, my family lives in Maine near Noland’s Port Clyde home. A few years ago my father asked – “have you heard of Kenneth Noland? I’ve been doing some [construction] work for him.” At first I said no because I’m useless with names. Then I looked him up and realized, YES, I have definitely seen his work.

Fred W. McDarrah/Getty Images

Come to find out, Noland is actually originally from Asheville, NC and recently I saw his work at the North Carolina Museum of Art. Noticing the dates 1924 – 2010 on the description next to the painting, I realized he had recently passed.

Refresh, 1999

The Guggenheim Museum will open “Kenneth Noland, 1924–2010: A Tribute,” in its Thannhauser Gallery, on May 21, 2010. More info – ARTINFO. If you are in NYC be sure to check it out!

Cadmium Radiance, 1963

If you are saying to yourself – “why is this guy such a big deal?” or “so what? I could do that!” I will offer two things 1. hypothetically maybe you “could”, but you didn’t, or at least you didn’t beat him to it.  2. Check out Appreciating Noland by Terry Fenton (I should out myself that I did not read this in its entirety and am not 100% on board with Fenton, but certainly it can give you some sense of why many in the art world view Noland as a valuable contributor in the evolution of abstract art.)

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"Intercession" (2008) oil on panel, 20" x 16"

“With striking color and theatrical compositions, Tomasula’s artwork is influenced by the votive painting of Mexico, as well as the contemporary writers of Latin America. As an artist she seeks to create very unique, but realistic depictions of still-lifes. Using what seem to be simple objects such as fruit, butterflies and flowers, she brings them together to create metaphorical, poetic and ambiguous work. She showcases flowers and fruits by using shallow space and often will paint a curtain or spotlight to draw attention to her images.

"Recure" (2002) oil on panel, 16" x 14"

“The inanimate objects then take on evocative, sensual characteristics.Each canvas is unique and intriguing as Maria brings her own sensibility to contemporary art of the 21^st Century.” – Forum Gallery

"The Doctrine of Affection" (2002) oil on panel, 24" x 20"

First, I was struck by Tomasula’s commanding trompe-l’œil imagery. Then she pulled me in with her “wry allegories of death, resurrection and erotic sensuality.” “The Doctrine of Affection” (above) captures just that. Tomasula seems to jubilantly communicate suffering.  She painstakingly paints minute details, using repetition, focal point, value and color, to engage us before confounding us with the content.  Her work reminds me of Frida Kahlo’s statement “suffering is most ridiculous”.

Frida Kahlo "The Little Deer" (1946) Oil on Masonite, 8 7/8" x 11 7/8"

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Konya, 2009, mmol 56" x 64 1/2"

“Essentially, everything in my work is about a process of description. My attitude towards repetition has to do with the cumulative effect of continuous applications of line and color.  If we focus on that, and see them as crystallized into patterns or marks, what do they add up to? They become some kind of actively structured geographical field.” – Philip Taaffe

Cairene Window II, (2008). mmoc, 60.5 x 84 inches (154 x 214 cm)

Truthfully, I think I would be most interested in attending a retrospective exhibition of Taaffe’s work.  What interests me most is the evolution of his painting over the past few decades.  You can see what I mean by looking through this archive of Taaffe’s paintings from 1981-2009.

1981                1989                          2000                         2008

Ekstasis – May 18 – July 16, 2010

3 Merlin Street, Athens 10671

T. 30.210.36.40.215 F. 30.210.36.40.204

Hours: Mon-Fri 11-6 & Sat by appointment

Gallery Information

Gallery Map

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"Scratching in the Dirt: Wisdom Series" (2007) oil on panel 71 x 61.5 inches

“My work grows from feelings to thoughts on the role of man within his own existence – both his spiritual and natural existence. Thoughts transform into figurations designed for meditation and beauty. The human form, naked and real with all its strengths and weaknesses, is a bridge of empathy to the viewer. The luminous optics of oil paint, molten beeswax and the construction of two and three dimensional wooden panel supports are my artistic tools of experimentation.”

~ Lisa Bartolozzi

"She: Wisdom Series" (1998) oil on panel 54 x 58 inches

“Infusing faith, meditation and her own personal experience, Lisa creates thought-provoking images of humanity. Part of her work focuses on what it means to be a woman and, more specifically, a woman artist. Drawing upon that idea and religion, each work not only becomes an interesting view of society but of history re-examined through a contemporary artist’s perspective. Her luminous paintings require layers of transparent pigments, which are then coated with wax. Thus her works achieve a Northern Renaissance look that allows her to unite the past with the present.” – Forum Gallery

"Hidden Counsels: Wisdom Series" (2007) oil on panel 87 1/2 x 71 1/2 inches (The blue is not part of the painting, just a funky part of the only image available.)

Though thoroughly intrigued by her work, I am dismayed by Bartolozzi’s lack of web presence.  If you’re anything like me you are desperate to attend an exhibition of this series and walk away with a full color catalog.   So you want to see more? Me too! Let me know if you have better luck with your search than I did

"Man: Wisdom Series", (1997) oil on panel, 52.25"x49.75"

"Royal Kimono", Oil on linen, 2004

Urnstein-Weissman’s Statement:

“Since 1996, I have been searching for the perfect tattooed female model and as a result have found some of the most enchanting tattooed women to be inspired by. The women who have modeled are professional women working in multi-faceted positions such as tattoo artist, massage therapist, and communication specialist. Within this body of work, we see a series of unique paintings that reveal beautiful and complex designs that tell personal stories. For example, Sarah, one of her models has the image of St. Teresa tattooed on her leg in tribute to her Mother whose name is Teresa. In another painting, the model Jennifer, tells us that her tattoos are a reflection of her inner power. They are a projection of where she wants to be in the future. Jennifer considers her body a well-adorned temple. As an artist in the feminist world, I am more aware that the art of tattooing a woman’s body has become a personal statement to her body adornment. Much like wearing jewelry or designer clothes, tattooing has become a personal message about a woman’s identity.

"Tattoo V11", Oil on Linen, 2006.

“Historically, tattooing was socially acceptable for men, although some experienced negative reactions. Men with tattoos have certainly received greater social acceptance more so than women have. However, in today’s society, women have made a strong female statement by creating heavily designed tattoos on their bodies. I have been fascinated to watch the story unfold on the skin of my female models. It is important to note that the images displayed in their tattoos could have a peculiar impetus such as a secular or religious motivation. I am the re-teller of their stories. The pain and the exhilaration of their statement compound the freedom of expression that my female models endure. This process has led me down many paths of exploration and thought on the significance of why these women decorate themselves with beautiful designs and stories that unfold their life as an illustrated woman.”

- Janice Urnstein Weissman

"Le Noir Kimono", oil on canvas, 2007, 48.5 x 30 inches

I wonder what she means by “searching for the perfect tattooed female model”? Tangentially, as I admire artists whose work I’ve never seen in person before (but rather view via print or internet) I long for the opportunity to see the originals first hand. I’d love to get up close and see each intricate detail of Weissman’s illustrated women in the flesh (yes pun intended). Small print and digital reproductions don’t even begin to give a true sense for the work.  In general, I’m a little afraid of being duped by reproductions as sometimes they make good work look bad and bad work look good.

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Artist Alan Magee has been a favorite of mine since I visited a retrospective of his work at the Farnsworth Art Museum in 2004.

Magee lives and works in Cushing ME. Handy for me as it is the peninsula across the river from Saint George ME, home of my parents, aunt and uncle, and grandmother.

When I need a little inspiration I sometimes leaf through  my copy of , “Alan Magee: Paintings, Sculpture, Graphics”, given to me by my mother.  I believe she also deserves the credit for inviting me to the Farnsworth exhibit and thus introducing me to Alan Magee’s work in the first place, thanks Mom!

Magee hosts an open studio every August so I went out of my way to get up there in 2005, and was delighted to meet him.  He was encouraging and generous with his time, despite the fact that my nerves and excitement over meeting him had me shaking and at a loss for words (a rare state I assure you).  I plan to go out of my way to get to his open studio again this year, fingers crossed.

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Ok, I just don’t know how I’ve never heard of this sculptor before.  But now I’ve heard about him, and so have you.

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