APRIL 15 – MAY 15, 2020 | Curator: Joshua Field
As artists retreat into their homes and studios amid a global pandemic, we will often pursue the making of our own worlds, sometimes havens which give us the illusion of control, sometimes fantasies of a world that is profoundly different from our current realities, and sometimes dystopian recreations of the world as it is in this moment. This exhibition features work in which artists, working in a new isolation, pursue the creation of their own universe.
Public Art Review, is the world’s leading public art magazine. Published by ForecastPublicArt.org, Public Art Review advocates for “dynamic, inclusive and resilient communities through public art, community-engaged design and transformative placemaking.” For 40 years, they have worked to improve “the collective life of communities through a unique combination of responsive consulting services, rare one-to-one support for public artists, and abundant resources.”
Americans for the Arts selected The Tree Inside Me by artist Sandy Litchfield as one of 50 outstanding public arts projects created in 2018 through the Public Art Network Year in Review program, the only national program that specifically recognizes the most compelling public art.
Bernay Fine Art is pleased to announce: The “X” Factor: Works by XIV Women Artists opening May 4th with a reception for the artists from 4-7 PM.
The works cover a wide visual spectrum from the hyperrealist paintings of Jessica Hess and Nadine Robbins to the deeply personal non-objective visions of Barbara Takenaga and Katia Santibanez. Sandra Byers and Sally Curcio bring exquisite sensibilities to three dimensional pieces in porcelain and sculpture. Joan Griswold and Linda Pochesci’s paintings are preoccupied with light and its effects on the surfaces and planes of the architectural environments we live in. Janet Rickus showers love and affection on her still life paintings, while Carrie Crane and Sandy Litchfield offer us new conceptual ways of thinking about landscapes. Maggie Mailer produces landscapes that shift from the abstract to the narrative, and Majory Reid’s innovative abstract paintings show how color can dominate. Sandy Winters just back from a retrospective at the DeLand Museum, once again beguiles us with her expressive draftsmanship.
As magnificent as each artist’s work in the “X” Factor exhibit is, it is the combined effect of the different styles and mediums that makes this show unique.
The exhibit will run from May 4 through June 22.
The Fun Palace Factor is a site-specific installation, designed for the stair landing exhibition space at Richardson Memorial Hall, Tulane University. The composition was derived from an interpretive analysis of Cedric Price’s drawing for Fun Palace. In the 1960’s Price collaborated with performance artist Joan Little, to design a temporary and movable structure that would act as a platform for entertainment, education, expression and creative activity. Its exposed structure was meant to encourage participatory engagement in a festival-like atmosphere. The painting, Fun Palace Factor, is comprised of six panels on aluminum composite that fit together and come apart like a puzzle. The colorful toy-like pieces are meant to celebrate play in architecture as a form of cultural practice.