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SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present
Roger Sayre: Sound and Vision

Opening Reception: Wednesday, May 11, 6 p.m. to 8 p.m.  

Hamilton Square
232 Pavonia Avenue, Jersey City, NJ 07302
201.434.8000

Exhibition Run: Wednesday, May 11 to August 31, 2016 

Vinyl Color Theory #4 (Detail), 2014, Unique Chromogenic Print, 20 x 24 inches. Courtesy of the artist, rogersayre.com

Vinyl Color Theory #4 (Detail), 2014, Unique Chromogenic Print, 20 x 24 inches. Courtesy of the artist, rogersayre.com

SILVERMAN and Hamilton Square Condominium Association present  “Roger Sayre: Sound and Vision,” curated by Brendan Carroll. Sayre is an artist driven by ideas who often uses unconventional materials to create his work—LP record album covers, fog juice, step ladders, vinyl folding chairs. What unifies his varied body of work is the sense of playfulness in which the pieces were considered and then realized.

For “Sound and Vision,” Sayre will present roughly two-dozen image-based works that include a new series of lens-less photographs, as well as collages made up of illustrations clipped from dictionaries, cassette tapes, and found photographs. Despite the variety of techniques, materials, and approaches to image making, the work on view in this exhibition is inspired by music in some form. The title of the show, “Sound and Vision,” refers to the song of the same name from David Bowie’s 1977 album Low.

The Halo series is a continuation of Sayre’s two-decade exploration of handmade lens-less photography. Each image is unique, more like a painting than a photograph. There are no negatives, no editions. This work has the immediacy of abstract drawings. They look like no other photographs. At times, the colors, forms, and textures suggest religious auras, radioactive nimbuses, solar and lunar eclipses, and black holes. At other times, they resemble bodily orifices, eyeballs, and entry and exit wounds.

Historically, the process he uses is similar to the one originated by Henry Fox Talbot, one of the early pioneers of photography. Sayre comments:

“Although we live in a world of digital photography, my work has always been informed and inspired by the basic tenets of the process. The kernel of all photography is light striking a light-sensitive surface. The procedure behind The Halo Series stops there. The pieces are made by illuminating photosensitive paper with filtered colored light in a dark room, forgoing both the camera and the film negative.”

Sayre’s hands-on experience in the darkroom is one of invention and discovery. Each photograph receives a minimum of seventy-two exposures that vary in time and color filtration. One piece often informs the creation of another.

The Halo Series is a result trial and error, as much as cause and effect. “When a piece works, it is like hitting a vein of ore after digging for weeks,” notes Sayre. “A success is a rarity, but very satisfying and a result of all the previous work.”

For his collages, Sayre uses the same spirit of improvisation and discovery to create his idiosyncratic orchestras. He combs through old dictionaries to find illustrated depictions of musicians, which he arranges into one-of-a-kind ragtag ensembles of instrumentalists. Sayre does not approach a collage with a preconceived outcome. He has an open mind and lets the process of trial-and-error guide his decision-making.

Roger Sayre (b. 1963) received his B.F.A. from Bowling Green State University in 1985. He received his M.F.A. from Pratt Institute in 1992. Sayre has collaborated with artist Charlotte Becket on a series of public projects that explore and reframe environmental materials and contexts. Last year, they won Socrates Sculpture Park’s 2015 Emerging Artist Fellowship. Sayre cofounded (re)mixed media, an ongoing collaboration with artist David Poppie. Sayre’s works have been featured in Bronx Museum of the Arts, Jersey City Museum, Shore Institute of Contemporary Art, A.M. Richard Fine Art, Allen Priebe Gallery (University of Wisconsin), Regina Gouger Miller Gallery (Carnegie Mellon University), among others. His works have been reviewed in The New York Times, The Pinhole Journal, Flash News, and Pittsburgh Tribune. He has won numerous awards, including the 2015 Artist Fellowship Award from the New Jersey State Council on the Arts. He lives and works in Jersey City, NJ.

The exhibition will be on view atHamilton Square Condominium Association through August 31, 2016. For further information, please visit us at SILVERMAN or call number (201) 435-8000. Hamilton Square is located at 232 Pavonia Avenue in Jersey City, NJ.

“Roger Sayre: Sound and Vision” is the thirty-first exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: rogersayre.com.

SILVERMAN has presented the works of Elizabeth Gilfilen, Robert Hendrickson, Sarah Becktle, Kati Vilim, Mark Dagley, Candy Le Sueur, Ed Fausty, Anna Mogilevsky, Ali Harrington, Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation directions from Lower Manhattan to Hamilton Square Condominium Association.

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SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present
“From the Metropolis and the Mountains: Paintings by Robert Hendrickson”

Opening Reception: Wednesday, January 20, 2016, 6–8 p.m. 

Hamilton Square
232 Pavonia Avenue, Jersey City, NJ 07302
201.434.8000

Exhibition on view in the lobby from January 20, 2016, to May 6, 2016.

Curated by Brendan Carroll, brendanscottcarroll.com

“I work directly from what I see.” –Robert Hendrickson

Hoboken Panorama, 2010, oil on linen, 30 x 84 inches.

Hoboken Panorama, 2010, oil on linen, 30 x 84 inches.

SILVERMAN and Hamilton Square Condominium Association present “From the Metropolis and the Mountains: Paintings by Robert Hendrickson.” This exhibition comprises a series of modest to large-scale oil paintings on linen, canvas, and wood panel. The mini survey, which spans 10 years, features both urban and pastoral landscapes completed in the plein-air tradition. The scenes are devoid of people but never lifeless.

For the past three decades, Robert Hendrickson has chosen to paint the places he has called home: Jersey City, Bayonne, and Colchester, NY. With titles such as Bayonne Sunset (2008), Pulaski Skyway (2005), Colgate Clock, Afternoon (2010), Pepacton Inlet (2012), Shed in Snow (2010), and Zinnias (2014), Hendrickson’s paintings present his everyday subjects in an unsentimental, no-nonsense style. His brushwork is direct, unfussy, knowing. The paintings are as much about color, light, and shape they are about depicting specific locales.

In a thrilling development, there’s a new sense of brevity to his forms. Hendrickson paints what he sees, nothing more, nothing less: a fledgling tomato plant under the midday sun; a fallen tree in a snow-covered woodlot; an isolated road unfurling into Hoboken. He never rearranges what he sees to fit an idealized view or a conception of the landscape. He is faithful to what nature presents to him. But it would be careless to suggest that his paintings have ever bordered on hyperrealism. Eliciting a sense of space has always seemed to be more important than capturing the likeness of the objects being depicted.

Jersey City Heights

Jersey City Heights, 2007, oil on linen, 20 x 50 inches

Colgate Clock, Afternoon

Colgate Clock, Afternoon, 2009, oil on panel, 10.5 x 14 inches

Hendrickson tends to paint on a modest scale, which he likens to writing a short story. These paintings, unburdened by superfluous detail, simplify the landscape to geometry and hue. From time to time, however, he likes to open up space and paint on a large scale. These works, by contrast, feel more “like an epic novel” to him. Hoboken Panorama, for example, provides a sweeping, all encompassing view of the Mile Square City, which never seems bogged down by minutia.

Intuition, more than emotional connection or convenience, determines what scene he will or will not decide to paint. “This intuition allows me to find landscapes that lend themselves to an interesting abstract arrangement of forms and space,” he remarks.

Woods

Snow woods, 2014, oil on linen, 24 x 26 inches

“I used to really enjoy driving around the metropolis this side of the Hudson, attempting to find my next painting spot. It was like a treasure hunt. It was always the more ordinary that interested me. I never wanted my painting to be overwhelmed by the subject that I was painting. For example, the Manhattan skyline is a very attractive thing to try to paint. But for me, it may be a difficult thing to paint in a way that it doesn’t look like some picture postcard.”

He started painting the landscape in the late 1980s as an undergraduate at American University in Washington, D.C. One of Hendrickson’s professors allowed him to skip class so he could pursue his goal to paint the nearby landscape around the nation’s capital. He has not looked back in 30 years.

Why paint the landscape, and why now?

“It’s an odd thing to be painting the landscape in the present time, but it is something I enjoy doing,” notes Hendrickson. “I think there is a formal visual language that has developed since people have been making [landscapes], and by continuing that tradition, I am connected to something larger than myself.”

Pepacton Inlet

Pepacton Inlet, 2012, oil on linen, 23 x 20 inches

View of Bear Mountain

View of Bear Mountain, 2010, oil on linen

One distinction to be made between his urban and pastoral scenes is temperament. More often than not, the paintings set in and around Bayonne and Jersey City feature nondescript locations: vacant lots, side streets, dead ends. New York City’s skyline appears in many of these works but at a considerable distance, and it is often obstructed by rivers, neighborhoods, and highways. The Big Apple is close but not close enough, more a specter than a thriving metropolis. Per Hendrickson’s eye and hand, the city will always be beyond one’s grasp, leaving viewers to feel as though they’ll never get there.

By contrast, the paintings completed on Hendrickson’s property in upstate New York feel intimate, accessible. The subject matter is always close at hand and within arm’s reach. To look at a painting of his flower garden, one can imagine sitting on a lawn chair in his yard, enjoying a cold glass of iced tea during a spring day in May, possibly playing a game of I Spy with the clouds.

Zinnias

Zinnias, 2014, oil on canvas, 18 x 24 inches

ISE Cultural Foundation, George Billis Gallery, and Rotunda Gallery have organized solo exhibitions of his work. Gallery Shoshinkan, New Jersey City University, Ramapo College of New Jersey, and Frederieke Taylor Gallery, among others, have featured his landscape paintings in numerous group exhibitions. Jersey Journal, American Art Collector, and Dallas Morning News have written about his paintings. He has received awards from Lower Manhattan Cultural Council, New York Studio School, and Wayne Art Center, and many others.

Hendrickson earned his MFA in Painting from Southern Methodist University (2004) in Dallas, TX, and his BA in Studio Art and Art History from American University (1989) in Washington, D.C. He has taught painting at College of the Ozarks in Point Lookout, MO, and New York Studio School in New York, NY. He lives and works in Bayonne and Colchester, NY.

The exhibition will be on view at Hamilton Square Condominium through May 6, 2016. For further information, please visit us at SILVERMAN or call 201.435.8000. Hamilton Square is located in 232 Pavonia Avenue in Jersey City, NJ.

“From the Metropolis and the Mountains: Paintings by Robert Hendrickson” is the 29th exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: robertrhendrickson.com.

SILVERMAN has presented the works of Sarah Becktel, Kati Vilim, Mark Dagley, Candy Le Sueur, Ed Fausty, Anna Mogilevsky, Ali Harrington, Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

 

 

 

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present
Candy Le Sueur: Where Dreams Land

Opening Reception: September 11, 2015, 7–9 p.m.

Hamilton Square
232 Pavonia Avenue
Jersey City, NJ 07302
201.434.8000

Exhibition on view in the lobby from September 11, 2015 — January 2, 2016.

Candy Le Sueur, Landed, 2013, oil on canvas, 60 x 48 inches

Candy Le Sueur, Landed, 2013, oil on canvas, 60 x 48 inches

“Sea, sky, and land colliding are completely ingrained in my visual language. This just pours out of me. This is what I love to paint.”  – Candy Le Sueur

SILVERMAN AND THE HAMILTON SQUARE CONDOMINIUMS ASSOCIATION present “Candy Le Sueur: Where Dreams Land,” curated by Brendan Carroll. This exhibition features nine large abstract landscape paintings that were created between 2012 and 2015. Each painting is oil on canvas. The exhibition also includes a series of small-scale prints and encaustics.

Candy Le Sueur’s evocative paintings suggest the natural world. The landscapes she depicts are rarely, if ever, still or recognizable. Light, atmosphere, and bravura paint-handling pervade. Paint alternates between viscous blasts and transparent washes, as each work seeks to strike a balance between solidity and effervescence. Part of the appeal of Le Sueur’s paintings is the threat that one of these forces may undo or overpower the other.

Although Le Sueur’s paintings give the impression of having been executed with great speed, in actuality, Le Sueur constructs her paintings over time, in a deliberate fashion. “I start with a wash of a solid color—usually a pale gray-blue—and let this dry for a day or more depending on the season. Then I apply a further layer of lighter and darker tones, which gives me some structure,” she explains. “Next, I build up the surface using a wet-to-wet technique, addressing one area of the canvas at a time. . . . This way of painting allows me to blend the color and soften where one area meets another. I push the paint around a lot.

Le Sueur paints as soon as she gets going in the morning, usually around 8:30 a.m. “I find my energy is best at that time,” says the artist. She paints for roughly six hours and then takes a break to eat and read. She returns to her studio in the early evening to paint from 4 to 6:30 p.m. She prefers silence to music when she paints. That said, if she needs some creative sparks, she listens to Van Morrison or Rodríguez, a folk musician from Detroit who was famous in South Africa.

When Le Sueur began her career, she concentrated her attention on the landscape of her native South Africa, but soon afterward, the images she constructed could not be identified by a specific region. One of the joys of viewing Le Sueur’s works is the myriad places they evoke: a windswept crag at the end of the world, a jagged coastline deluged by rain, a sunbaked plain enveloped by azure skies. Today, Le Sueur paints her landscapes from her studio in Jersey City. “I don’t need to be in the physical locale to paint my work,” says the artist. “My paintings are landscapes as I imagine them, relying on memory, intuition, and emotion.” Although Le Sueur’s style may recall, at first glance, the gestural brushwork of Abstract Expressionism, what emerges on repeat viewings is the artist’s strong affinity to Romanticism, the early-nineteenth-century artistic movement that turned to nature and the sublime as its primary sources of inspiration. Objectivity is eschewed in favor of poetic interpretation. Indeed, Le Sueur does not so much portray landscapes as she conjures them in the act of painting.

Le Sueur is an internationally recognized artist that has exhibited her work in South Africa, Switzerland, Germany, and United States. National Academy Museum, Jersey City Museum, and Drawing Rooms, among other venues, have exhibited her paintings, prints, and encaustics. Her work is included in several private collections both home and abroad. She received her Fine Arts Degree from University of Johannesburg in South Africa. She continued her studies at National Academy School in New York City. She was born in Kroonstad, South Africa, a small town in the center of the country, about 120 miles south of Johannesburg. She lives and works in Jersey City.

The exhibition will be on view at Hamilton Square Condominium Association from September 11, 2015 through January 2, 2016. For further information, please visit us at SILVERMAN or call 201-435-8000.

“Candy Le Sueur: Where Dreams Land” is the twenty-seventh exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: candylesueur.com.

SILVERMAN has presented the works of Kirk Bray, Anna Mogilevsky, Edward Fausty, Ali Harrington, Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation directions from Lower Manhattan to downtown Jersey City.

SILVERMAN and Hamilton Square Condominium Association present 
Kirk Bray: “Seeing It Again” 

OPENING RECEPTION: Wednesday, May 6, 2015, 6–8 p.m. 
Hamilton Square 
232 Pavonia Avenue
Jersey City, NJ 07302 
201-435-8000
Exhibition on view in the lobby from Wednesday, May 6, 2015 to August 31, 2015 
Kirk Bray, Underwater Group Date, 2011, oil on found canvas, 62 x 48 inches. Courtesy of the artist.

Kirk Bray, Underwater Group Date, 2011, oil on found canvas, 62 x 48 inches. Courtesy of the artist.

“I enjoy seeing the reaction of the viewer.  If they smile or laugh, I know they get it.  Hopefully, my work has brought them back to a pleasant childhood memory”— Kirk Bray

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present “Kirk Bray: Seeing It Again,” curated by Brendan Carroll. This exhibition presents more than 30 works made during the last seven years. Over this time, Bray has developed a diverse body of work that includes paintings, collages, assemblages, and found objects. The show includes works on paper, cardboard, linen, and canvas.

Bray’s work evades categorization. He often combines representational elements with flat, geometric grounds. To be frank, his visual language is hard to pin down, and that’s part of the fun. It seems to be drawn as much from a deadpan observation of the world around him as it is inspired from his unconscious.

Bray’s work is distinguished by its reliance on found canvas and paper—magazine clippings, old diaries, found drawings, odd ephemera, and the skillful manipulation of these materials, which he often finds in vintage stores and estate sales, as well as on the street and inside dumpsters. His work is built of separate elements that create strange images, combining threat, comedy, and fantasty. At times, the disparate materials retain their original identities. At other times, they are combined to create an entirely new persona. More often than not, the paper has a rich patina, which suggests the touch of human hands, as much as the passage of time.

Bray’s reinventions of objects from ordinary life do not signify pedagogic declarations. What they do provide is a humble visual poetry open to interpretation. His work evokes delight.

Bray received his Bachelor of Science in Apparel Design and Manufacturing from University of Wisconsin—Stout in 1996. Calico Gallery, Mary Benson Gallery, Goose Barnacle, and Gallery 454, among other venues, have exhibited his paintings and collages. He lives and works in Jersey City, NJ.

The exhibition will be on view at Hamilton Square Condominium Association through August 31, 2015. For further information, please visit us at SILVERMAN or call number 201-435-8000 .

“Kirk Bray: Seeing It Again” is the twenty-fifth exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: kirklandbray.com.

SILVERMAN has presented the works of Anna Mogilevsky, Edward Fausty, Ali Harrington, Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation directions from Lower Manhattan to downtown Jersey City.

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Anne Percoco

Anne Percoco, Terrarium @ ArtBloc, Jersey City, NJ

SILVERMAN and Hamilton Square Condominium Association in association with ArtBloc present ANNE PERCOCO: TERRARIUM

OPENING RECEPTIONFriday, September 5, 2014, 7–9 p.m.

Hamilton Square
232 Pavonia Avenue
Jersey City, NJ 07302
201.435.8000

Exhibition on view September 5, 2014–ongoing

Anne Percoco’s Terrarium transforms an industrial shipping container into an enclosed ecosystem. With the help of the Hamilton Park Greens Group volunteers, she has filled the containers with weeds harvested from nearby Hamilton Park. Throughout the two-month project run, the installation has been in a constant state of flux as the artist plants, waters, and maintains this living ecosystem while collecting seeds from plants for limited edition seed packets.

Percoco sees Terrarium as a foil to the domesticated space of the park, a wild place within the neighborhood, encouraging viewers to look at the overlooked, and to be aware of the complex wilderness growing in the peripheries of Jersey City. This project is about collective contribution as it is about habitation and biodiversity.

The installation is unassuming during the daytime but takes on otherworldly qualities at night with the activation of pink LED grow lights and a sound installation by Michael Durek. This ethereal quality invites viewers to consider the plants as having an interior life and an agency of their own.

Work In Progress: Terrarium

Work In Progress: Terrarium

The score features minimal, droning sounds reminiscent of the hums and tones that form the background of our sonic experience of cities, while occasionally becoming more cinematic and tonal. The skillful layering of these elements makes them seem almost natural.

Ultimately, this project is about what is undervalued from our daily urban environment, how our value systems interact with both humans and non-humans, and, as Gary Snyder wondered, “where do we start to resolve the dichotomy of the civilized and the wild?”

Percoco makes art not by creating something new, but by reorganizing what’s already there. Her process is resourceful, responsive, and playful. She spends as much time exploring, collecting materials, and researching as she does making. She makes full use of each material’s unique formal properties as well as historical, cultural and environmental resonances.

Percoco studied at Drew University, Madison, NJ (BA 2005) and Rutgers University, New Brunswick, NJ (MFA 2008). Percoco was born in Boston, MA, in 1982. She lives and works in Jersey City, NJ.

For more information on Anne Percoco, or to contact the artist, please visit her website: annepercoco.com.

Rendering

A rendering of Anne Percoco’s installation Terrarium. Courtesy of the artist.

Contributors:

Musician Michael Durek created original sound design for this installation. For more information on the artist, go here: michaeldurek.com.

Filmmaker John Dunstan will project an original video to the side of ArtBloc during the opening reception. For more information on Dunstan, go here: vimeo.

Partners:

SILVERMAN is a New Jersey real estate developer, creatively rebuilding urban areas, supporting the arts, while building neighborhoods.

ArtBloc is a mobile art gallery and performance space built from two repurposed shipping containers – it is a dynamic community venue for art, music, dance and theater.

Brendan Carroll is an artist, writer and curator. He organizes a rotating exhibition program of prominent and up-and-coming artists for SILVERMAN.

Transportation Map:

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

 

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Sara Wolfe, Oh Mickey, 2009, oil on canvas, 23 1/8 x 24 1/8 inches

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present
Sara Wolfe: Boom Boom Boom 



Opening Reception: Friday, September 5, 2014, 7—9pm  


Hamilton Square Condominium
232 Pavonia Avenue
Jersey City, NJ 07302
201.434.8000

Exhibition on view in the lobby from September 5, 2014 to December 31, 2014

“I’m really interested in associations viewers have to colors and form. I’m fascinated with how little visual material we need to trigger a memory or physical reaction” — Sara Wolfe

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION present “Sara Wolfe: Boom Boom Boom,” curated by Brendan Carroll. This exhibition is a mini-survey of the artist’s painting from the past ten years. For more than a decade, Wolfe has produced vibrant abstract paintings on canvas and paper, which range in size from modest to large-scale. Her work may vary in style and execution, but it is united by her no-nonsense approach to painting. It’s as playful and offbeat as it is serious and substantial.

Bringing old and new work together can often prompt new insights for artist and audience alike. Surveying her work, Wolfe is not so much surprised, as she is aware of a continual interest in color and motif.

“I’m drawn to more geometric works from the past, as my current work is more minimal… Layers and expressionistic marks have made way for what is hopefully a nuanced play between shape and the illusion of space,” says Wolfe.

“Color continues to seduce me, and it’s interesting to see it explode out of earlier work. I am still distracted by the variety of the art store paint shelves and want to try each one. The newer work attempts to be conscious about color choices without losing the intuition of choosing color spontaneously.”

Sara Wolfe, Untitled, 2008, oil on canvas, 32 x 32 1/8 inches

Sara Wolfe, Untitled, 2008, oil on canvas, 32 x 32 7/8 inches

Wolfe creates a seemingly infinite variety of work that can be viewed simultaneously as pictorial and abstract. More often than not, her work is derived from her daily visual experience. From cerebral to intuitive, she explores line, value, color, and texture. Each piece, however minimal, reveals the touch of her hand. Paint, in all its plasticity, ranges from opaque fields to translucent patches. Application is casual, but informed. Color tends not to be stable; rather, it is contradictory and unpredictable.

Sara Wolfe, Untitled, 2008, oil on canvas, 32 x 32 1/8 inches

Sara Wolfe, Untitled, 2008, oil on canvas, 32 x 32 1/8 inches

Of late, she paints organic and geometric forms in cosmic space. These forms twirl, tumble, and play peekaboo. The feel is as unfussy as it is buoyant. There is an infectious joie de vivre about Wolfe’s geometric abstractions. For the artist, paint is a means to an end, not the end. She is compelled by paint’s inherent physicality, especially in contrast to the virtual imagery that bombards the public on a moment-by-moment basis. She is fascinated by how the mind stores and remembers information.

At first glance, it might be easy to dismiss her work as slapdash or unassuming. But to view her paintings in this manner would rob you of a rewarding visual experience. To appreciate this work requires time—minutes, not seconds. In light of today’s hyperdigitized era, which inundates us with a relentless cycle of images, Wolfe’s paintings can offer the viewer a meditative refuge.

Sara Wolfe, Untitled, 2013, Oil on Canvas, 24 1/8 x 23 1/8 inches

Sara Wolfe, Untitled, 2013, Oil on Canvas, 24 1/8 x 23 1/8 inches

Sara Wolfe is a New York City based painter who has exhibited in venues including the Fine Arts Work Center in Provincetown, MA, the 92nd Street Y and Exit Art in New York City, and, most recently, The Center for Contemporary Art and Arts Guild in New Jersey. Solo shows include the Jersey City Museum’s Majestic Theater in 2006 and Gallery Aferro in Newark in 2009.

Wolfe has been the recipient of numerous fellowships, including those from the Geraldine R. Dodge Foundation and the Joan Mitchell Foundation. Residencies include Yaddo, the Atlantic Center for the Arts, Vermont Studio Centers and the Association of Independent Schools of Art and Design. Wolfe holds an M.F.A. from Rutgers’ Mason Gross School of the Arts and has studied painting in Florence, Italy and at the School for Visual Arts in New York City. She has taught painting and drawing at Rutgers University, Middlesex County College, New Jersey City University and at SUNY in New Paltz, NY.

This exhibition will be on view at Hamilton Square Condominiums through December 2014. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

Sara Wolfe: Boom Boom Boom is the twenty-first exhibition that Brendan Carroll will organize for SILVERMAN.

For additional information on the artist, please go here: sarawolfe.com.

SILVERMAN has presented the works of Shauna Finn, Anne Percoco, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynn, Margaret Murphy, Valeri Larko, Tenesh Webber, Glenn Garver, Jennifer Krause Chapeau, Michelle Doll, Tim Heins, Megan Maloy, Laurie Riccadonna, Thomas John Carlson, Tim Daly, Ann Flaherty, Scott Taylor, Jason Seder, Sara Wolfe, Beth Gilfilen, Andrzej Lech, Hiroshi Kumagai, Tom McGlynn, Victoria Calabro, Asha Ganpat, Darren Jones, Ryan Roa,Laura Napier, Risa Puno, Nyugen E. Smith, Amanda Thackray, and Kai Vierstra.

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

Transportation Directions from Lower Manhattan to Hamilton Square Condominiums

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