Miriam Schapiro, Fresh Air, 1957, Oil on Canvas, 48 x 60.5 inches
The Flomenhaft Gallery is proud to present our annual Women Only exhibition from January 14 to February 20, 2016. Included are Janet Davidson-Hues, Jody Guralnick, Laura Murlender, Miriam Schapiro and Jaune Quick-to-See Smith. We have subtitled it Something Old, Something New because we have often shown the work of Jaune Quick-to-See Smith and we represent the art of Janet Davidson-Hues. It was also our privilege since 2005 to represent the art of Miriam Schapiro, who recently died. Her painting, Fresh Air (1957) is included in this show. It is of the same period and style as Fanfare (1958) which will be included in the forthcoming retrospective of her art to be presented by the National Academy Museum and School, New York City, from January 28 to May 7, 2016. We will also exhibit Time (1988-1991). It is a work that includes femmage, an outcome of the women’s art revolution she instigated with Judy Chicago in 1970. Time was the first major painting in her collaboration series that portrays her close association with Frida Kahlo.
We are exhibiting Trade Canoe (2005) by Jaune Quick-to-See Smith inspired by her unhappiness regarding the United States’ entry into Iraq. Jaune is of the Salish and Kootenai tribes of Western Montana. She says about her art, “I think my strongest suit is as someone who enlightens the greater community about our native view of life and have my work emanate from a real place. It then addresses the human condition.”
Janet Davidson-Hues says, “My recent series of paintings is a continuation of my investigation of language and how I view it not only as a means of communication and explanation but also as an art form as image and abstraction. Language actually becomes graphic message and image in the midst of active and morphing of color streams and fields. I like to set up contradictions or tensions by placing precisely painted and literal text onto and into the improvisational drippy applications of paint on the canvas. The quotes convey thoughts about illusion and reality and anxiety and possibility, all of which seem to pervade my daily life. And basically it is about perception, which is of great interest to me.”
New to our gallery and to this exhibit are Jody Guralnick and Laura Murlender who we have recently encountered and whose work we are very excited about.
Jody Guralnick’s work is observational. It is at the intersection of the omnipresent and the natural world, mingling such forms as rods, spheres buds, blossoms and leaves that make up both worlds. She says of her work, “It’s about memory and amnesia, mosses and fungi, alchemical plants and rapture of the tiny. It’s about amazement, longing, definition, comprehension. It’s about forgotten detail, and blurring the line between the microscopic and the macroscopic. It’s about shock and the quotidian – and the increasingly tenuous relationship between nature and the man-made.”
One evening in May 1976, Laura Murlender was kidnapped by the Argentinean government security forces. She became what the world came to call a “disappeared.” After 11 days of torture, she was surprised to find herself unshackled on the streets of Buenos Aires. Her parents quickly put her on a plane to Tel Aviv. Sixty days later, when the government realized their mistake they came for her but it was too late. In Israel, Laura reconstructed her life and in 1982 she graduated from the Bezalel Academy in Jerusalem. According to Murlender, her art “evokes the way memory functions, a language based on experiences of transition. Grids underline the surfaces, the fluidity of specific saturated colors, and the passages between the planes that address the notion of perceived time. Materials that carry their own memories heighten the relationship between the realm of memory and the tangibility of the surfaces.”
Murlender has recently been awarded the Memorial Foundation for Jewish Culture Grant. She also received the American-Israel Foundation Grant, the Helena Rubinstein Foundation First Prize, the Samuel First prize in visual Arts-Canada, and the French Government Grant.
We are exhibiting Trade Canoe (2005) by Jaune Quick-to-See Smith inspired by her unhappiness regarding the United States’ entry into Iraq. Jaune is of the Salish and Kootenai tribes of Western Montana. She says about her art, “I think my strongest suit is as someone who enlightens the greater community about our native view of life and have my work emanate from a real place. It then addresses the human condition.”
Janet Davidson-Hues says, “My recent series of paintings is a continuation of my investigation of language and how I view it not only as a means of communication and explanation but also as an art form as image and abstraction. Language actually becomes graphic message and image in the midst of active and morphing of color streams and fields. I like to set up contradictions or tensions by placing precisely painted and literal text onto and into the improvisational drippy applications of paint on the canvas. The quotes convey thoughts about illusion and reality and anxiety and possibility, all of which seem to pervade my daily life. And basically it is about perception, which is of great interest to me.”
New to our gallery and to this exhibit are Jody Guralnick and Laura Murlender who we have recently encountered and whose work we are very excited about.
Jody Guralnick’s work is observational. It is at the intersection of the omnipresent and the natural world, mingling such forms as rods, spheres buds, blossoms and leaves that make up both worlds. She says of her work, “It’s about memory and amnesia, mosses and fungi, alchemical plants and rapture of the tiny. It’s about amazement, longing, definition, comprehension. It’s about forgotten detail, and blurring the line between the microscopic and the macroscopic. It’s about shock and the quotidian – and the increasingly tenuous relationship between nature and the man-made.”
One evening in May 1976, Laura Murlender was kidnapped by the Argentinean government security forces. She became what the world came to call a “disappeared.” After 11 days of torture, she was surprised to find herself unshackled on the streets of Buenos Aires. Her parents quickly put her on a plane to Tel Aviv. Sixty days later, when the government realized their mistake they came for her but it was too late. In Israel, Laura reconstructed her life and in 1982 she graduated from the Bezalel Academy in Jerusalem. According to Murlender, her art “evokes the way memory functions, a language based on experiences of transition. Grids underline the surfaces, the fluidity of specific saturated colors, and the passages between the planes that address the notion of perceived time. Materials that carry their own memories heighten the relationship between the realm of memory and the tangibility of the surfaces.”
Murlender has recently been awarded the Memorial Foundation for Jewish Culture Grant. She also received the American-Israel Foundation Grant, the Helena Rubinstein Foundation First Prize, the Samuel First prize in visual Arts-Canada, and the French Government Grant.
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