Artist Reception July 12th, 6-8pm
Jerry Glaser brings together in his “expo 68 art & design” exhibit a synthesis of elements that distinguish him from other contemporary American artists: a poetic sense of form (harmony of design); a keen and journalistic sense of social history; wit (the juxtaposition of contrastive images and objects); nostalgia for a period, now lost, the 1950’s, that shaped his development as a creative person, inflections of Hebraic culture, and an awareness of the trends and events that brought his favored decade to an end in the upheaval of the 1960’s.
Although the essential atmosphere of this series – and Jerry’s work is best seen as a collection of chronologically related artifacts – is essentially upbeat (like the popular music it cites), there are disturbing elements as well: a representation of JFK’s assassination, inner city riots, the McCarthy period. A child of the 1950’s, the artist didn’t remain one.
The artist’s retrospective joy in capturing the wonder of Willie May’s magical 1953 catch (“The Catch”) is balanced by the immediate sense that such a moment cannot be relived – only celebrated in a kind of time-capsule. It’s no wonder that the artist entitles what may be the major piece in the show, “American
Time Traveler.” His time-line helps us revise ours. His visual autobiography helps us become memoirists.
Jerry Glaser documents generational time
through the use of photographs, texts (news clips), high school yearbook images, vinyl disks, and everyday objects that the artist has chosen (not found), so that each work becomes a kind of curio cabinet. Together, they make up a mini-museum. He creates and curates a world.
Jerry Glaser, for all of his interest in American life across the board, so to speak, has a special fondness for Jewish American icons such as Sandy Koufax (“When Jewish Kids Believed In Idols”). The use of the past tense, “believed,” reflects the melancholy of celebrating a lost past. Jerry Glaser is no Marcel Proust (but who is?) of the palette, but there are connections.
As for the palette: each piece has a paint brush affixed to it to remind us that what we are looking at is a created field of associations, not a random selection.
Reality has been rearranged on a surface where
solidity and specificity of objective representation is set against a Jackson Pollock like pulsating network of lines that alerts us to the impermanence of what we long to be permanent: the dreams of our youth. In this sense, Jerry Glaser integrates different methods of 19thand 20thcentury art as an artist and art historian.
No one does better what Jerry Glaser does, and his achievement is best understood when his life’s work in his version of mixed-media and conceptual art are seen all together (a personal MoMA) – for then it’s clear that he has a comprehensive sense of the history of our time.
His work is unique. His paint brush is his signature – his Alfred Hitchcock appearance in his “made” objects, his “Kilroy was here!”
Dr. Howard R. Wolf
Emeritus Professor of English (UB)
Artist Reception August 2nd, 6-8pm
Following the advice of Leonardo daVinci, the ultimate artist and scientist, I have studied the science of art and the art of science to learn to see that everything is connected to everything else.
My work as a Clinical Laboratory Scientist requires immediate analysis to provide results that physicians need to diagnose and treat patients. My job is literally a matter of life and death. My scientific work is intense and demanding.
Creating art relieves the stress of my clinical work and brings joy to me and hopefully others. I have been told that my art is cheerful and colorful and brightens up a person’s day. Unlike my laboratory job, my drawing and painting has no time pressure.
In both my scientific work and art, I focus on fine color and shape distinction and patterns that require interpretation. Both require special techniques and tools and constant attention to nuance. I think balancing science & art helps me to see connections in everything.
Stay tuned for details
Often, it is a striking visual that serves as the catalyst to start a poet’s or playwright’s creative juices flowing. A poignant exchange at an airport, the anguish of a broken heart, or the majesty of a wind-swept road at dusk can evoke a precise emotion, which then gets crafted onto the page.
The concept for the exhibit originated in a conversation among an artist, a writer, and a gallery owner. From this conversation emerged a show designed to demonstrate the collaborative spirit among artists of diverse creative disciplines. Poets and painters, songwriters and playwrights, artists with varying experiences make up the select group of 16 wirters and 11 artists who are party to this marriage of the literary and the artistic.
In The Art of Words, you will discover the powerful imagery and intimate emotion of the written word conversing with the visual language of art.
A special thank you to Carl William Thiel and Wendy Caldwell Maloney for their help in coordinating the exhibition.
“When any creative work brings about a dialogue, even if unspoken, between artist and audience, it succeeds.” - Carl William Thiel
I look upon my art as a 21stcentury fusion of my most significant artistic influences: George Inness’s “civilized landscapes”, Charles Burchfield, van Gogh’s pre-fauvism, Edward Hopper, all combined under an idea I developed thirty five years ago: landscapes contrasting the precise light of contemporary technology (sodium/mercury-vapor; LED; tungsten; fluorescent lighting; auto headlights) against the evanescent lighting of the moon or setting/rising sun. Also contrasted are the precise lines of human construct against the flowing lines of hills, rivers, mountains, clouds. I’ve coined the term technoluminismto describe my work.
Much of my technoluminist work shows automobiles. To me, they present mankind with the mixed blessing of giving us the freedom to go to or leave; while at the same time threatening the planet’s ecosystem with vast quantities of carbon emissions and mountains of waste.
In my “Through a Rain-Splattered Windshield Series,” I contrast the safe world inside and automobile against the unpredictable, if deadly, world beyond the automobile’s confines. Too, the automobile—and other representations of technology—mark the time in which the artwork was created.
-George Grace, Technoluminist / Abstract Realist
Having been born and raised in the Buffalo, N.Y. area, Stephen grew up surrounded by world famous classic architecture. While attending college he took a course on the geography of western New York and there he discovered Buffalo’s rich history. This fostered his appreciation for Buffalo architecture and coupled with his love of art, inspired him to capture their images on paper. Since his teenage years, Stephen tried several different mediums including oils, watercolors and pottery. Although he still paints on occasion he always came back to pencil for its simple and pure characteristics.
He has always been influenced by the works of M.C. Escher, the Impressionists and Frank Lloyd Wright. Stephen enjoys talking about Buffalo history and architecture and likes to share stories and memories with those who view his work. It is his hope that seeing his work will help them to appreciate the rich history and magnificent architecture of the City of Light.
we are proud to present the homecoming exhibition for liegh chapman. this exhibit explores a family of artists-being present and blooming where we are planted. art that is recording moments, felt in the heart first, invisible, love makes them visible. leigh is a former designer for radio city music hall and assistant to the creative director for peter max studios in new york city.
artist reception saturday january 5th 5-7pm
rio mansour, creator of love beats everything clothing line presents a solo exhibition with works that inspired the line as well as new work featuring zaina, the beauty within. celebrate love during this holiday season and meet rio and his incredible mission to spread positivity.
Greg has been a mainstay guitarist on the Western New York Jazz Scene for many years and continues to record and perform presently. He has performed with a diverse group of local, national and international artists including organists Charles Earland; Jack McDuff; and Ronnie Foster; saxophonists Joe Ford; Clifford Jordan; Don Menza; David “Fathead” Newman; and Bill Easley; trumpeter Lester Bowie; trombonist Roswell Rudd; and vocalists Brook Benton and “Big” Joe Turner. Mr. Millar is also a past coordinator of interdisciplinary music and poetry programs for Just Buffalo Literary Center that featured local and nationally known poets and musicians in concert settings.
Greg has also worked as a staff tutor for Empire State College in the field of Jazz Guitar Theory and History and has written and/or performed for films, videos, theater pieces, and dance performances. Joining Greg for this special event will be Alec Dube on vibes and friends.
the best part of an open jazz session is when the energy explodes as each musician is inspired by his fellow collaborators. this exhibition explores art that is inspired by the spirit of jazz. there will be weekly live jazz performances during the exhibition.
works by: tim brooks, john baker, tom coyne, betty pitts foster, enid edelman, cashis green, cherisse lipps, robin mols, shantelle patton, william rios, & gerald seals
FEATURING LIVE JAZZ FROM 7-9PM! The Lance Tanner Duo
It took my mom and I six frustrating years to get a Visa to come to America and reunite with my Dad who was already there. I was thirteen when I saw him again. It was like meeting him for the first time. I knew it was a sacrifice my parents were willing to make, even if it would take a toll on their marriage. Why did we go? The movies and TV shows told us it was the promise land - that everyone was welcome and all you had to do is find a way to get there.
Our plane landed in JFK on my birthday - a very cold wintery night. I didn’t feel the cold on the drive to our apartment on Long Island because I was in awe of all the intertwined highways- there was no one walking on foot. It felt like Alice in Wonderland. I went to a school that was 85% white and middle class. I didn’t understand why we had to switch classrooms every hour. I didn’t fit in with the black or white students. I’m sure they made fun of me but I couldn’t tell you what they said since the only English word I knew was ‘Yes’. I was only comfortable with the universal language of math and I also liked gym a lot. Because we Haitians love martial arts movies, I thought I could take on anyone who would make fun of me. I remember getting off the bus to fight with a more hip black kid. I took my Jackie Chan stance and the fight never got on. I wished that I had what most of those kids had (money, nice clothes, a house) yet I never felt inferior. We had defeated the French (Napoleon), so we had high self-esteem - whether real or not
I learned English quickly because I watched after-school cartoons and at least one movie every day. I wanted to become what I was inspired by. All types of art fields were an inspiration for me - whether it was dance (Michael Jackson), fashion, art (Bob Ross), music (Prince), theater, movies, music videos, and so on. America was going to fill that void that I hungered for all my life. Art is what I remember most in Haiti before coming to American. As a kid growing up on the island, my family lived in a half-finished hotel owned by my Godfather, and it was inside that place where I imagined what life was and what my life could be. The unfinished part of the building felt like being in a Roman antiquity building. I would ponder the sunlight streaming in empty rooms, illuminating the dust in the air. I thought about God and the demons and angels all around me. I listened and watched voodoo dancers enthralled in their ceremonies. I slept with a blanket over my head (even though it was a tropical island) so I could keep watch for evil spirits that could eat me alive. I looked forward to rainstorms and would run, sometimes naked, into a foot deep water on the terrace which would act as our wave pool
When I first got here, assimilating was paramount. I had already gone through puberty so I couldn’t erase the accent, but I could dress differently and instead of putting on cologne, I could use anti-perspirant, choose to only speak English and only listen to American music. Many years later, I realized I can’t escape who I am and that there is something special about being Haitian. Like most immigrants, we came to America to get what America had to offer. Unknowingly, we were also giving back by parceling some of our culture into this great nation’s fabric through the arts, language, food and workforce.
“Departures and Arrivals” at expo68 features abstract landscapes and color-popping resin; wall-sized canvases and 5-inch minis, works on paper and pieces on board.
I grew up in Buffalo with art all around me. My father, Irving Mink, was an abstract painter, and visits to the Albright Knox or helping set up for Allentown were part of living.I started painting relatively late, and went through as many styles, subjects, and media as I could, before coming happily to rest in a world of texture, color and line. I find that I am continually pulled in new directions rather than staying with one style or point of view.
I moved to Ithaca,New York in 1976 where I pursued a PhD in Comparative Literature, was a freelance actor in television and radio commercials, News Director of WHCU radio. received an MA degree in History from Cornell University. served on the Tompkins County Legislature for 12 years, and founded and produced the Light in Winter Festival of Science and Art.. I have taught Management Communication at Cornell University’s Johnson Graduate School since 1986, which keeps me in canvases and paint.
I am proud to be a member of the Buffalo Society of Artists, have a home gallery, and am represented by Velvenoir for European sales. My work can be found in collections in throughout the United States and Europe, and online at Saatchi Art, Redbubble.com
Blink Gallery, Andes NY Summer 2018
Marcia Evans Gallery, Columbus Summer 2018
Jed Williams Gallery, Philadephia July 2017
State of the Art Gallery, Ithaca April 2017
Cornelia Street Café, NYC August 2016
State of the Art Gallery, Ithaca NY September 2015
George Waters Gallery, Elmira College, Elmira NY, February 2015
Locust Grove Museum, Poughkeepsie NY, 2014
Orazio Salati Gallery, Binghamton NY 2013
Lamoreaux Landing Gallery, Lodi NY, 2012
2012 Marcia Evans Gallery, Columbus OH 2011
Kitchen Theater Gallery, Ithaca NY 2011
Earlville Arts Center, Hamilton New York October, \
Grove Gallery, Aurora NY 2007
Carrie Haddad Gallery, Hudson NY 2006
Cornell University’s Willard Straight Gallery, Ithaca NY 2006
Blink Gallery, Andes, NY 2005
Sola Gallery, Ithaca, NY 2005-2009
Member’s Gallery, Albright Knox Gallery, Buffalo NY 2007-2009
Silver Medal, “Happiness” BSA 120th Catalogue Show 2016
Honorable Mention, “Erasures II”, Western NY Artists Group 24th Annual Regional Show 2015
First Place Award, “Take Shelter”, Western NY Artists Group 23rd Annual Regional Show 2014
The BSA Arter Award, “Beszel” BSA Sprin Show, 2013
Award of Excellence, “Number 3” Southern Tier Biennial 2011
expo 68 and picture your walls present the works of norman maffei.
local artist norman maffie served our country in wwii. through art he documented what he experienced. we at expo 68 & picture your walls want to pay tribute through this poignant collection and thank all who serve our country.
at our core we are all really the same: we all love, we all laugh. there are no new ideas, we simply repurpose or reimagine our influences. art has the power to make us look at our world and ideas in new and exciting ways. this group exhibition will explore how we look at our world.
works by: dianne baker, tim brooks, joan hambleton, eileen pleasure
jan agate abbarno | artist reception
This body of work has led me beyond exploration of texture, tone, shape and my acoustic linens into a deeper focus on the material themselves -- especially the paper.
What is the edge?
Why is the canvass almost always a rectangle?
Why is the paper almost always a rectangle or square?
Edges do not need to serve as borders but can be dynamic elements in composition itself.
Tearing produces organic marks that give paper independence of its own. Thinner pieces pulled or curled turning in on themselves and created shadows against the backfield adding further interest. I added larger openings that resulted in borderline 3D drawings, or perhaps small paper sculptures in a shadowbox--this is for you to decide.
I hope you enjoy the new work and wish to thank Tim Brooks for inviting me to be his opening artist at Expo 68.