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SUMMARY:The Worlds of Chuck Bowdish
DESCRIPTION:An opening reception of NYSS’s exhibition The Worlds of Chuck Bowdish will take place on Friday\, January 19\, which will include a screening of Peter Wareing’s documentary film\, Chuck Bowdish: Painter (2001).
URL:https://artinamericaguide.com/event/the-worlds-of-chuck-bowdish/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:The Worlds of Chuck Bowdish
DESCRIPTION:New York Studio School is pleased to present a solo exhibition of work by the late artist Chuck Bowdish. Organized in collaboration with the artist’s estate\, The Worlds of Chuck Bowdish draws on several decades of work to explore the various facets of Bowdish’s highly personal and enigmatic paintings\, watercolors\, collages\, drawings\, and sculptures. An opening reception will take place on Friday\, January 19\, which will include a screening of Peter Wareing’s documentary film\, Chuck Bowdish: Painter (2001). \nBowdish’s career is marked by an ethos of experimentation\, in search of what he described as “grace and honesty” in the face of the “darkness of human character.” The subject matter of Bowdish’s works emerges from both keenly observing the world around him and probing the depths of his subconscious. The Worlds of Chuck Bowdish is organized around the specificity of place that informed his artmaking in subject matter\, palette\, and materials\, even as he became increasingly preoccupied with the landscapes and narratives of the imagination. Diagnosed with bipolar disorder\, Bowdish found solace in the act of painting. “When I am behind the easel\,” he explained\, “I can feel the forms and shapes in my physical body coming out in a very concrete way. It is truly therapeutic.” \nBowdish flourished while attending the Ringling School of Art in Sarasota\, Florida\, from 1977 through 1980. There he studied figure painting and drawing\, concentrating his efforts on watercolor—a medium that remained central to his practice throughout his career. Motifs inspired by Florida\, such as palm trees\, boats\, and shorelines\, recur across his bodies of work. \nBowdish’s years in New York evidence a dedicated interest in form while studying illustration and figuration at the Art Students League and figural sculpture at NYSS. He continued to refine his draughtsmanship and developed a singular sense of color\, which\, he observed\, was “considerably brightened” by the “color\, light\, and culture” of San Miguel de Allende\, where he lived from 1986 to 1991. Returning to New York\, he pursued figure painting and anatomical studies at the New York Academy of Art\, a period of intensive study that resulted in large\, haunting oil paintings of nudes in imagined landscapes inhabiting unknowable narratives. The surfaces of his gestural oil paintings are marked by scratches and scrapes\, themselves becoming objects with storied histories of erasure\, change\, and discovery\, like Roman frescoes. In his later oil paintings\, watercolors\, and collages from New York and\, finally\, Hendersonville\, North Carolina\, he worked primarily from his imagination and dreams\, reformulating themes and narratives of innocence\, violence\, loss\, and sexuality central to the human condition. His inventive deployment of scale underscores the emotional and psychological tenor of much of his work\, as does the high-contrast\, stage-like lighting. \nBowdish’s work signals a profound and expansive familiarity with the history of art. His angular forms at times evoke the timelessness of Archaic sculpture\, his landscapes the dreamlike scenes of the Fauves. His winged figures conjure Fra Angelico’s and his nudes Balthus’s. Yet\, Bowdish’s work complexly intertwines his personal lived experience with broader national and international events through these familiar art historical forms. Allusions to a midcentury childhood defined by the American idealism of John F. Kennedy’s presidency and the brutality of the Vietnam War haunt scenes populated by recurring motifs of Greek amphoras\, military tanks\, ballet dancers\, Judeo-Christian symbols\, fedora-wearing mobsters\, and Gauguin-inspired nudes. Artist Bruce Gagnier\, with whom Bowdish studied at NYSS\, highlights the metaphoric nature of Bowdish’s work\, explaining that “he fashions forms that project feelings that lie within us all. Here\, as in all great painting\, life comes to the canvas with the urgency of the painter’s brush.” This exhibition explores the cosmologies he experienced\, remembered\, and imagined. \nThe Worlds of Chuck Bowdish serves as an important critical examination of an artist whose prolific output has yet to be fully considered. Bowdish’s expansive body of work searches for innocence and transcendence in a post-industrial\, fragmented\, and\, at times\, perilous world. As the artist himself wrote\, “One of the responsibilities of an artist is to reaffirm our humanity which is basically our capacity to love.” Also on view in the exhibition is Peter Wareing’s thirty-minute film Chuck Bowdish: Painter (2001) that chronicles Bowdish’s artistic journey. \nFollowing its presentation at NYSS\, the exhibition will be on view at the Ringling College of Art and Design\, Sarasota\, FL\, during their 2025-2026 season. \nOn February 13\, NYSS will host an Evening Lecture Series panel discussion on Bowdish’s work featuring Sasha Chermayeff\, Bruce Gagnier\, Ernie Sandidge\, and Lisa Steiner. The event will start at 6:30 pm ET and will be held in person and livestreamed on Zoom and YouTube Live. The occasion will also mark the launch of the illustrated exhibition catalogue\, The Worlds of Chuck Bowdish\, which will include remembrances by friends and fellow artists\, such as SoHyun Bae\, Chris Carone\, Marianne Gagnier\, and Nels Pierce\, among others. \nChuck Bowdish (1959-2022) was born in Dayton\, Ohio. His peripatetic childhood was defined by his fighter pilot father’s tours of duty in the Vietnam era. He first learned to draw from his mother\, a painter and schoolteacher. He attended the Ringling School of Art and Design in Sarasota in the late 1970s\, followed by the Art Students League and NYSS in the early 1980s. In New York he joined the downtown art scene and began working as an illustrator with The New York Times and Fortune. After several years in Mexico\, he returned to New York and enrolled at the New York Academy of Art. His awards include the Edgar Whitney Scholarship (1981)\, “Best of Show” at the 1993 Ringling alumni exhibition\, the Wynn Newhouse Award (2012) and the Hassam\, Speicher\, Betts\, and Symons Fund Purchase Award from the American Academy of Arts and Letters (2015). He showed often with steven harvey fine arts projects\, New York\, and Galerie Timothy Tew\, Atlanta\, GA\, among several other galleries\, and his work is in the collection of The Butler Institute of American Art\, Youngstown\, Ohio; Western Carolina University Art Museum\, Cullowhee\, North Carolina; and the William Louis-Dreyfus Foundation\, Mt. Kisco\, New York. Recent exhibitions include Chuck Bowdish: Complete Works\, Art at Kings Oaks\, Newtown\, PA\, and the group exhibition The Way I’m Wired: Artist Reflections on Neurodiversity\, Western Carolina University Fine Art Museum\, Cullowhee\, North Carolina. \nThe School extends a special thank you to the family of Chuck Bowdish.
URL:https://artinamericaguide.com/event/the-worlds-of-chuck-bowdish-2/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:Certificate Completion Exhibition 2022
DESCRIPTION:April 14-24\, 2022: George Petrides & Galit Zeif \nApril 28 – May 8\, 2022: Nikheel Iyer & Leon Toro
URL:https://artinamericaguide.com/event/certificate-completion-exhibition-2022/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:LOURDES BERNARD: The Women of April
DESCRIPTION:  \nIt begins when the first bombs were fallen on our home. American foreign policy is the beginning of American citizenship for so many of us. – Ocean Vuong \nThe New York Studio School presents The Women of April\, a research-based group of works on paper by Lourdes Bernard that commemorate the 57th anniversary of the April 1965 revolution and US invasion of the Dominican Republic\, on view March 14 – April 10\, 2022. \nThe narrative images celebrate and highlight the role of “The Women of April\,” untrained civilian resistance fighters who fought against the 42\,000 US Marines ordered by LBJ to invade the small Caribbean nation. In 2017\, shortly after attending the DC Women’s March and as the previous administration rolled out controversial immigration policies\, artist Lourdes Bernard began to research her family’s migration journey from the Dominican Republic in 1965. It was through this research that she discovered “Las Mujeres de Abril” (“The Women of April”)\, and learned of the US invasion that displaced thousands of Dominicans\, including her family. The Women of April were attorneys\, journalists\, artists\, teachers\, academics\, housewives\, and students. Bernard excavates this hidden history through her work\, re-imagining their stories and struggle for freedom. \nThe research became a three-part Dominican Migration series\, speaking directly to the issues of American militarism and Dominican resistance that were specific to April 1965. Yet the artwork moves beyond Bernard’s personal story\, engaging in contemporary questions about the impact of US foreign policy and the cost of displacement\, immigration\, and imperialism\, as well as the heroic power of the collective. The depictions\, created with bold outlines and blocks of washy color in watercolor\, acrylic flash paint\, and pen and ink on paper\, invite the audience to engage with this history so it no longer lives only in the memory of those who lived it. “This art is about remembrance and reclaims stories I did not know I carried\,” the artist explains. “Memories offer us a basis for meaning and integration. Remembrance is a path to discovery\, and I learned that the aftershock of the US invasion in April 1965 is still with us in the form of the Dominican diaspora\, now the fourth largest Latino community in the US.” \nAs honed down as Bernard’s drawings are\, the specificity of physiognomies\, poses\, body language\, demeanor\, age\, and apparel\, and the brilliantly selected details of these portraits\, which is what these pictures ultimately are\, transmit with enormous precision readily recognizable types and individuals. Moreover\, the images have been made more compelling and captivating through the acuity of Bernard’s adroit graphism: she knows how to draw. Her seemingly rapid sketches precisely transmit a pose\, an expression\, a scene\, the dress\, the gestures\, the props—and draws the viewer as well into the world she depicts. – Aimée Brown Price\, 2020 \nLourdes Bernard is a Dominican-American artist raised in Brooklyn\, a graduate of Syracuse University School of Architecture and The New York Studio School. Her work has been exhibited in El Museo del Barrio\, the New York Public Library\, PS1 Contemporary Art Center\, Boston College\, The Wilmer Jennings Gallery\, and Five Myles Gallery. She is also the recipient of a Yaddo Foundation Fellowship and a Wurlitzer Foundation Fellowship. \nThis exhibition is made possible by a fiscal sponsorship with the New York Foundation for the Arts. \n\n(5) Lourdes Bernard\, Love Is Resistance\, 2022 Giclee print on H. German Etching 11″ x 15”. Courtesy of the Artist.
URL:https://artinamericaguide.com/event/lourdes-bernard-the-women-of-april/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220209T183000
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SUMMARY:Virtual Lecture: Lobsters\, Butterflies\, and Dreams: Stephanie D’Alessandro on Surrealism Beyond Borders
DESCRIPTION:Stephanie D’Alessandro joined The Met in 2017 as Leonard A. Lauder Curator of Modern Art and is curator of Surrealism Beyond Borders (closed January 2022). She has organized numerous exhibitions\, including Matisse: Radical Invention\, 1913–17 (2010)\, Magritte: The Mystery of the Ordinary\, 1926–38 (2014)\, and Tarsila do Amaral: Inventing Modern Art in Brazil (2017). An expert on international modernism\, she received her PhD from the University of Chicago.
URL:https://artinamericaguide.com/event/virtual-lecture-lobsters-butterflies-and-dreams-stephanie-dalessandro-on-surrealism-beyond-borders/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event,Virtual Events + Viewing Rooms
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SUMMARY:Gracie DeVito: Recent Paintings
DESCRIPTION:The New York Studio School is pleased to announce its first solo presentation of works by Los Angeles-based artist Gracie DeVito. Gracie DeVito\, Recent Paintings includes new paintings from 2020 and 2021. The exhibition will be on show from September 7 to October 10\, 2021. \nDeVito’s recent works recall a sort of painterliness that has historically been founded on two key precepts: the understanding of painting as a form of primary process thinking and the practice of transcription. With regards to the former notion\, Donald Kuspit writes about the paintings of Leon Kossoff—an important source of inspiration for DeVito’s work—that they “inflame our subconscious.” In addition to being a proponent of the sort of “gestalt-free” painting alluded to by Kuspit here\, Kossoff was also an avid practitioner of transcription. Neither copying nor reinterpretation\, the practice of transcription that Kossoff swore by—as does now DeVito—was technical and analytical. It was a process of reverse engineering carried out for the sake of the betterment of the transcriber as a painter. \nThe paintings included in the present exhibition are not transcriptions\, but they engage with the history of painting in a similar way. Hectic churns of blues and greens recall the use of metaphors of aquatic depth and organic growth in modernist abstraction. Yet\, in DeVito’s paintings\, any allusion to the metaphysical is shot through with flashes of silliness and banality. While very rarely figurative in the traditional sense of the term\, they are littered with little jokes. A cosmic swirl is punctuated by a spillage that can only be described as unedifying. The virtuosity of the handling of color and paint is undercut by the intermittent use of familiar devices and effects. \nThe inner experience mobilized by these paintings is a contaminated one\, and the titles of the paintings serve as hints as to by what. They liken the vertiginous depths with which the paintings confront us to the vortexes of meandering Reddit-threads and free-wheeling podcasts. They compare the catharsis toward which the paintings seem to prod us to the sort of transformations one might experience when following a three-day juice diet\, physical and psychological. This is the sensibility and contingency that DeVito brings to the tradition of painterliness that she operates within and beyond. \nDeVito (b. 1985) lives and works in Los Angeles. Her work has been the subject of solo exhibitions at Tif Sigfrids\, Overduin and Co. and Nicelle Beauchene and has been reviewed in Artforum and The New York Times. She received her MFA from CalArts in 2012 and has been participating in classes at The New York Studio School since 2003. \n-Niels Henriksen\, August 2021 \n\nImage: Gracie DeVito\, Situationist Hiker\, 2020\, Oil on panel\, 26 x 21 1/2 in.
URL:https://artinamericaguide.com/event/gracie-devito-recent-paintings/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:Roger Tibbetts: Recto/Verso Opening Reception
DESCRIPTION:The New York Studio School presents recent works by Roger Tibbetts in Recto/Verso\, January 27 – March 1\, 2020\, with an Opening Reception Thursday\, January 30\, 6-8pm. The paintings of Roger Tibbetts at first insist a poetic\, hard edge finality\, but closer inspection reveals their weathered\, shifting surfaces; geometric painting that survived battle. \nThe worked acrylic surfaces present silky\, meditative fields\, punctuated by moments where Tibbetts snaps us back to the reality of the making; with constellations of drawn lines\, dots\, and physical holes. Large shapes of color are balanced with these thin\, mathematical components\, exposed amongst the layers. The linear elements reinforce the flatness of the surface\, while also creating illusions of prisms and oblongs in space. \nTibbetts works\, which range from ten inches to almost ten feet\, are created with expanses of muted colors built up by limited palettes. Black and white often dominate the entire surface\, with touches of reds\, pinks\, blues\, and purples. The areas of color may seem singular\, but the compounding of decisions builds milky films of fluctuating color and opacity. \nRecto/ Verso includes Tibbetts’ drawings and works on paper that reveal more directly the architectural line work and unlikely prisms layered in the paintings. They provide a key to the mysterious schematics revealed between and on top of the stratum of built up color\, while still not giving away the structures they map. Pencil\, ink\, and acrylic are worked into plastic and paper with a combination of precision and chance. \nRoger Tibbetts received an MFA from Yale University School of Art (1975)\, as well as completing studies at the Chelsea School of Art\, London\, England (1972) and Wolverhampton College of Art\, England (1971). Exhibitions of his work include solo and group shows at Bannister Gallery Rhode Island College\, The Museum of Fine Arts Boston\, Bernard Toale Gallery\, Boston\, Mercer Street Gallery NYC\, Ruggiero Gallery NYC\, and the Bakalar and Paine Galleries at MassArt. Tibbetts is the recipient of a Guggenheim Fellowship (1999)\, a Louis Comfort Tiffany Grant (1986)\, and grants from the Connecticut Commission on the Arts\, and from the National endowment for the Arts. Public collections include the Museum of Fine Arts\, Boston\, Cleveland Museum of Art\, Davison Art Center\, Wesleyan University\, Fogg Museum\, Harvard University\, Rhode Island School of Design Museum\, Rose Art Museum\, Hood Museum of Art Dartmouth College\, and the Yale Art Museum. Tibbetts is based in Connecticut and currently teaches at the Massachusetts College of Art & Design.
URL:https://artinamericaguide.com/event/roger-tibbetts-recto-verso-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:Pat Passlof: Fifty Years on Paper\, Gallery Talk with Curator Geoffrey Dorfman
DESCRIPTION:Join us for a Gallery Talk with curator Geoffrey Dorfman to discuss Pat Passlof: Fifty Years on Paper\, on Wednesday\, January 15\, at 6:30pm. This event is free & open to the public. \nPat Passlof: Fifty Years on Paper\, on view through January 19\, 2020.
URL:https://artinamericaguide.com/event/pat-passlof-fifty-years-on-paper-gallery-talk-with-curator-geoffrey-dorfman/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20191212T200000
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SUMMARY:Pat Passlof: Fifty Years on Paper\, Opening Reception
DESCRIPTION:Pat Passlof: Fifty Years on Paper\nCurated by Geoffrey Dorfman\nPresented by the Milton Resnick and Pat Passlof Foundation\nDecember 9\, 2019 – January 19\, 2020\nOpening Reception: Thursday\, December 12\, 2019 \nThe art of Pat Passlof (1928 —2011) is being featured this year in three separate exhibitions\, of which this one at the New York Studio School — the last — focuses on her work on paper and vellum. Firstly there are the early drawings she made as a twenty-year-old prodigy\, and protégé of Willem de Kooning. They can be roughly dated to 1949 or 1950 and have never been shown before. These are coupled with the main body of the show\, gouaches (sometimes enhanced with more intensely pigmented acrylic\,) painted in the 1980’s. All the work in the show is figurative. \nPat’s sensibility was inimitable\, impossible to mistake for another’s. As is so evident in her early drawings\, she already could boast natural facility\, an exacting eye\, and an educated\, deft line which\, as evident in her pencil study of her hands\, is frankly worthy of Ingres. But as a mature painter in her fifties\, and especially on paper\, she tended to court the fey\, fanciful\, and whimsical aspects of her art\, in which the brush appeared to create diaphanous effects seemingly by chance. \nI’ve chosen to concentrate on dream landscapes\, often peopled and sporting not a few wild horses. Pat had strong feelings for animals\, and a fascination with the American Indian\, on which she had amassed a small library\, boasting of books going back to the 1840’s. Her little summer house and studio in the Shawangunk mountains where many of these gouaches were made or begun\, was surrounded by white birch\, and one found oneself whimsically conjuring the Lenape spirits amongst them in the early morning mist. (The ‘Schawan’ in Shawangunk is Lenape for ‘There is smoky air.’) \nPat Passlof was an absorbing personality; a well read\, thoughtful\, industrious\, and critically exacting woman. But she also seemed to me a bit ‘witchy.’ Back in the 1950’s she befriended a family of Gypsies that had moved overnight into the storefront of her building on 10th street. She regarded fortune-telling as no more than a parlor game\, yet paradoxically later became a serious adherent of astrology. Almost anyone coming into her orbit was likely to have his or her chart done\, an irresistible all-purpose icebreaker. (She could also read palms.) Once I asked Milton Resnick — her more famous painter-husband — whether he\, himself\, believed in these occult practices. He thought about it for a few seconds before replying\, “Well\, I believe in Pat.” Occultism is only now gradually becoming an acknowledged influence in early modernism in art\, music and other arts\, and the sybil — the female seer — is an ‘office’ extending back to antiquity\, present on all continents. At the very core of art practice is the transformation of base materials into spiritualized incarnate entities\, in part by means of thought. That has always been true. And that of course shares generalized roots with magical practice. \nYet\, one must understand that fortune-telling is not transformative. It seeks to read signs of a future that in some limited sense has already occurred. Nevertheless\, it always begins with a ‘throw\,’ something entirely random. It might be a literal throw of stones\, sticks or intestines\, the spooking of a flock of birds\, the pick of a card\, the albumen in a cracked egg\, the crack in the scapula of an ox\, the line in a palm\, or the date\, time and place of one’s birth\, that catalyzes the reading. And when conceiving a painting\, Pat\, Milton and others of their counterparts (including myself) prefer a flying start\, employing similarly sudden and haphazard means. Opening up a canvas is not unlike a break shot in pool\, spreading the table so as to open up myriad possibilities. \nWhat seemed entirely separate\, merely a social lubricant\, now can be reevaluated on a more elevated aesthetic plane\, as Pat — and the memory of Pat — recedes into the sands of time. \n— Geoffrey Dorfman
URL:https://artinamericaguide.com/event/pat-passlof-fifty-years-on-paper-opening-reception/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20191125T183000
DTEND;TZID=America/Halifax:20191125T193000
DTSTAMP:20260504T103308
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LAST-MODIFIED:20191118T174204Z
UID:61765-1574706600-1574710200@artinamericaguide.com
SUMMARY:Hermine Ford: Toward the Beginning\, Gallery Talk
DESCRIPTION:Join us for a Gallery Talk with exhibiting artist Hermine Ford\, in conversation with Stephanie Buhmann & Nora Griffin\, to discuss Ford’s exhibition “Toward the Beginning\,” on view at the New York Studio School through December 1\, 2019.
URL:https://artinamericaguide.com/event/hermine-ford-toward-the-beginning-gallery-talk/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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DTSTART;TZID=America/New_York:20191005T160000
DTEND;TZID=America/New_York:20191005T170000
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CREATED:20190925T134036Z
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UID:59983-1570291200-1570294800@artinamericaguide.com
SUMMARY:Bruce Gagnier Gallery Talk: In Conversation with Celia Gerard & Steven Harvey
DESCRIPTION:Join us for a Gallery Talk to accompany Bruce Gagnier’s exhibition Stance on view at the New York Studio School through October 13. Gagnier will be joined by Artist Celia Gerard and Gallerist Steven Harvey for a conversation about the work. The talk begins at 4pm on Saturday\, October 5\, in the NYSS Gallery and Clay Room.
URL:https://artinamericaguide.com/event/bruce-gagnier-gallery-talk-in-conversation-with-celia-gerard-steven-harvey/
LOCATION:New York Studio School of Drawing\, Painting & Sculpture\, 8 West 8th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Event
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