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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 MAJESTIC THEATRE CONDOMINIUM ASSOCIATION presents
Sarah Becktel: Modern Menagerie

Opening Reception: Friday, November 6, 2015, 7–9 p.m.

The Majestic Theatre Condominiums
222 Montgomery Street
Jersey City, NJ 07302
201.435.8000

Exhibition on view in the lobby from November 6, 2015 – February 26, 2016

Sarah Becktel, Restless Tides, 2015, Oil on canvas, 18 x 30 inches. Courtesy of Sarah Becktel, sarahbecktel.com

Sarah Becktel, Restless Tides, 2015, Oil on canvas, 18 x 30 inches. Courtesy of Sarah Becktel, sarahbecktel.com

“The word contemporary is important to my work. I’m interested in depicting the world as it is presented to me, and I experience it.” —Sarah Becktel

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION presents “Sarah Becktel: Modern Menagerie,” curated by Brendan Carroll. This exhibition will present approximately twenty works that includes oil paintings on panel and colored pencil works on paper. Her brand of contemporary realism is defined by clarity of vision, attention to detail, and technical virtuosity.

Becktel uses portraits and landscapes to transform the unusual and make it natural, from stuffed animal heads in a tavern in Wyoming to domestic goats grazing in a cemetery in gritty Jersey City. Her paintings and drawings explore how humans relate to and interact with animals in the modern world. Her work is as much about biodiversity, sustainability, and conservation, as it is about the sober observation and depiction of the world.

Animals appear as confidant, pastoral beast, and stuffed trophy. In one painting, the artist and a raccoon sit at a table to share confidences and Oreo cookies. In another, goats stand and loll atop headstones in an overgrown Harsimus cemetery under the midday sun. However, the relationship between species is not always as benign as it appears. Several works depict taxidermy animal heads eyeballing the viewer with their impenetrable, and vacant stares.

Sarah Becktel, Lost and Found III, 2015, Oil on Panel, 11 x 14 inches

Sarah Becktel, Lost and Found III, 2015, Oil on Panel, 11 x 14 inches

The German Expressionist Franz Marc said that painting animals brought out “All that was good in me.” Becktel shares the same sentiment. “Interacting with and observing animals probably gives me the highest level of joy,” notes Becktel. Her love of animals did not seamlessly find its way into her work. At first, she used them as symbols for abstract psychological ideas. Now, animals are more the central subjects of her work.

The development of her paintings is not a fixed phenomenon. At times, an image is the impetus that drives the painting. “I could be out in the world and observe something that just sticks with me…so in that case, the imagery is the inspiration into a painting composition,” she notes. That said, Becktel does not always rely on the visual alone to inspire an image. In some instances, an abstract idea is the motivation for a given work. In these cases, she has to find “the best way to translate the concept into a tangible image.”

Becktel, who began studying with a classical realist at age ten, is proud of her academic training, but she is not beholden to it. Reference photography plays a pivotal role in the development of her paintings. “Anytime something strikes me as interesting, I snap a photo,” says Becktel. “I’m always coming across things that might end up in a painting.” The link between photograph and realized painting is not instantaneous. It may take months or years before the initial interest develops into a more concrete painting idea. During the gestation period, she often clicks through her photo libraries to see what jumps out at her.

Sarah Becktel, Wolf Tavern, 2013, Oil on Panel, 20 x 16 inches

Sarah Becktel, Wolf Tavern, 2013, Oil on Panel, 20 x 16 inches

Once a raw idea starts to become more tangible, she will do some sketches to determine the scale and composition of a piece. Sketches never become complete works. She finds spending too much time on preliminary drawings can sap the excitement and energy of her paintings. “I like to save the detail for the actual painting,” notes Becktel.

Becktel is drawn to representational painting because it puts her in control of how much information to give or withhold from the viewer. “You essentially set the scene for them,” Becktel said. What I find interesting in her work is how it manages to create immediately recognizable images without sacrificing mystery or suggestion.

Sarah Becktel is a painter who specializes in contemporary realism. She received her B.F.A. from Tyler School of Art in 2005. She continued her studies of figurative drawing and painting at Studio Incamminati in Philadelphia and the Art Students League in New York City. Jersey City Museum, Trenton City Museum, Monmouth Museum, Ben Shahn Center for Visual Arts, and Salmagundi Art Club, among other institutions, have organized exhibitions featuring of her work. Becktel has received numerous honors, including PLAYA Artist Residency in Summer Lake, Oregon, and Brush Creek Arts Foundation Residency in Laramie, Wyoming. She currently resides in Jersey City, NJ and works out of her studio in Newark, NJ.

The exhibition will be on view at Majestic Theatre Condominium Association through February 26, 2016. For further information, please visit us at SILVERMAN or call number (201) 435-8000. Majestic Theatre is located at 222 Montgomery Street in Jersey City.

“Sarah Becktel: Modern Menagerie” is the twenty-eighth exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: Sarah Becktel.

SILVERMAN has presented the works of 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 downtown Jersey City.

Transportation directions from Lower Manhattan to downtown Jersey City.

Transportation directions from Lower Manhattan to downtown Jersey City.

SILVERMAN and Hamilton Square Condominium Association present
Edward Fausty | A Fragile Utopia: The Days of 111 First Street

Hamilton Square
232 Pavonia Avenue, Jersey City, NJ 07302
201.434.1000

Opening Reception: Wednesday, January 7, 2015, 6—8 pm. 

Exhibition on view in the lobby January 5, 2015 to April 30, 2015.

Dog Sleeping, Lowenstein/Malak Studio, 2005, digital pigment photograph, 17"x17" on 21"x21" Arches Cover paper

Dog Sleeping, Lowenstein/Malak Studio, 2005, digital pigment photograph, 17″x17″ on 21″x21″ Arches Cover paper

“What has always touched me in music and art and life is loss or its possibility/inevitability.”
–Ed Fausty

SILVERMAN AND HAMILTON SQUARE CONDOMINIUM ASSOCIATION present “Edward Fausty: A Fragile Utopia: The Days of 111 First Street,” curated by Brendan Carroll. This exhibition presents more than 20 large-scale photographs of a former tobacco warehouse that once housed a vibrant artist community in downtown Jersey City.

Photographer Edward Fausty lived and worked in 111 First Street, a five-story red brick warehouse building that was home to more than 150 artists and small businesses. The former cigarette factory sprawled over 328,000 square feet and occupied an entire city block near the waterfront. For 15 years, the building not only provided a refuge for artists, but it also, arguably, functioned as the city’s cultural epicenter. In 2005, New Gold Equities, led by Lloyd Goldman, evicted the artists, and in 2007 it demolished the building to develop the site for residential use. As of now, ground has yet to be broken on the site.

Between 2001 and 2005, Fausty photographed the building, its immediate environs, and the makeshift studios where the artist lived and worked. He photographed 111 First Street with the nuance of a poet and the precision of a surgeon, creating an encyclopedic visual catalog of the site while subtly addressing issues of gentrification, class, urban redevelopment, and displacement of the creative community.

The sensations of loss and dread that Fausty conjures by capturing once-vibrant objects alongside signs of decay are real and concrete. An overhead lamp in the shape of an elephant’s head illuminates a vacant hallway. A series of lithographs hang like laundry on a line in a cramped studio. A dog sleeps on a blue pillow, a few bones by its side. A toilet and a riser await the demolition crew in a vacant room. The ghosts of 111 First Street are felt everywhere.

The atmospheric quality of light, the carefully balanced compositions, and the overall tenor of the subjects depicted suggest the paintings of Johannes Vermeer. The silence is palpable. In other ways, the series is a kind of meditation on death or dying, as it documents the systematic dismantling of this building and the dispersal of its inhabitants. There is a near tangible tension in the series between “aesthetic beauty” and “ruin.” Devoid of people and suffused with premonitory gloom, the photographs have an emotional gravitas.

These photographs are an irreplaceable record of an artist community that sought refuge in a once derelict warehouse district in Jersey City.

Fausty used a Bronica Medium Format SLR Camera. According to Fausty, he estimates that he shot anywhere from 800 to 1,000 negatives. From this group, he selected roughly 50 prints that would comprise the series. The images are generated from high resolution digital scans and printed with archival quality inks onto Arches rag paper. Some prints are 22 inches and some are 36 inches square on 42 x 48 inch paper.

“This is a collection of my favorite images,” says Fausty. “It is not edited tightly in the way a book might be.” By necessity, the selection of work is dictated by the exhibition venue. That said, the series is usually presented in a loose chronological order. In Fausty’s words: “Pre- and post-apocalypse.”

Edward Fausty’s work is included in many national collections, including Montclair Art Museum, The United States Library of Congress, Yale University, and Goldman Sachs, to name a few. The Henry Street Settlement, Louis K. Meisel Gallery, Hunterdon Art Museum, Hoboken Historical Museum have organized solo exhibitions of his work. His photographs have been included in numerous group exhibitions. He has exhibited his work nationally and internationally, including group exhibitions with Brooklyn Museum of Art, Dallas Museum of Art, and The U.S. Library of Congress.

The New York Times, Artforum Magazine, Village Voice, and The Star Ledger have reviewed his work, to name a few. Fausty has been the recipient of numerous awards, including Princeton University Atelier Program, National Endowment for the Arts (NEA) Survey Grant, and Creative Artists Program Services (CAPS) grant, among others. He received his M.F.A. in photography from Yale School of Art in 1986. He received his B.F.A. from Cooper Union School of Art in 1979. He lives and works in New Jersey.

The exhibition will be on view at Hamilton Square Condominium Association through April 30, 2015. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

“Edward Fausty: A Fragile Utopia: The Days of 111 First Street” is the twenty-third exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: edwardfausty.com.

SILVERMAN has presented the works of 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 The Majestic Theatre Condominium Association preset
Ali Harrington: Neck of the Woods

OPENING RECEPTION
Thursday, November 6, 2014, 6—8 p.m.

The Majestic Theatre Condominiums
222 Montgomery Street
Jersey City, NJ 07302
201.435.8000

Exhibition on view in the lobby from November 6, 2014 to February 28, 2015.

Ali Harrington

Ali Harrington, Toxic, 2011, Oil on canvas, 20 x 24 inches. Photo courtesy of Cary Whittier.

“What I love about what I am doing is being surprised about what the painting, drawing, or sculpture turns into” — Ali Harrington

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION present “Ali Harrington: Neck of the Woods,” curated by Brendan Carroll. This exhibition features a selection of works on canvas and paper completed over the past four years. From visionary landscapes to absurd caricature, Harrington relies on spontaneity and improvisation to develop her singular imagery.

“[My] paintings and drawings are driven by a search for the image,” says Harrington. “It’s thrilling to problem solve, invent, and figure out how the painting or drawing will resolve in the end. To hold a structure in place, it’s like a game of imposing just enough order onto the chaos of color, light and tone, gesture, form, rhythm… Sometimes the finished work is more abstract, other times more representational, but the question of ‘what will this be?’ is at the heart of everything I do, and keeps me hooked.”

An intuitive, unpretentious artist, Harrington tends to work in series where artworks are born out of play and free association. Whether she’s painting or drawing a person, place, or thing, she invariably starts with a reference to explore the subject at hand while creating the work.

For example, Mountain Goat depicts a large, cloven hoof beast standing astride a craggy precipice at twilight. Directly below the animal is a safety net—the kind associated with the circus. Its inclusion is both jarring and comedic. Toxic is a grotesque abstraction of Libyan dictator Moammar Gadhafi. Harrington reduces the deceased leader to a truncated, headless black form, which she sets against a stark desert backdrop. Gadhafi seems to be held together by nothing more than epaulets and insignia. Nest depicts an elusive, buzzing form, coming from a description in Italo Calvino’s novel Invisible Cities. Its conical shape and hue bring to mind a beehive as much as Brigitte Bardot’s hairdo from her 1962 film A Very Private Affair.

Harrington’s otherworldly landscape drawings are based on direct, personal experience, but they are not drawn from direct observation. To build forms and imagery, she uses saturated colors and expressive mark making, which borders on the fever pitch. These works nail down the eye with their whirling surfaces, and combination of unconscious symbols and distilled evocations of the natural world.

“Once a drawing or painting is done, it is done, and I’m ready for the next,” Harrington notes. “Each work is inextricably linked to the medium itself and the unpredictable path it takes before reaching its conclusion.”

Ali Harrington is an artist currently living and working in Jersey City, New Jersey. She holds an MFA in Visual Arts from Columbia University (2014) and a BFA from Washington University in St. Louis (2005) where she studied painting and psychology. She has exhibited in New York City and Baltimore, participated in a residency at the Vermont Studio Center in 2013, was featured in New American Paintings in 2013, and was nominated for the Rema Hort Mann Foundation Visual Arts Grant in 2014.

The exhibition will be on view at Majestic Theatre Condominium Association through February 28, 2015. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

“Ali Harrington: Neck of the Woods” is the twenty-second exhibition that Brendan Carroll will organize for SILVERMAN. For additional information on the artist, go here: alisonharrington.com

SILVERMAN has presented the works of Sara Wolfe, Anne Percoco, Shauna Finn, Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera SkvirskyTom McGlynnMargaret MurphyValeri LarkoTenesh WebberGlenn GarverJennifer Krause ChapeauMichelle DollTim HeinsMegan MaloyLaurie Riccadonna, Thomas John Carlson, Tim DalyAnn FlahertyScott TaylorJason SederSara WolfeBeth Gilfilen, Andrzej Lech, Hiroshi KumagaiTom McGlynnVictoria CalabroAsha GanpatDarren JonesRyan Roa,Laura NapierRisa PunoNyugen E. SmithAmanda Thackray, and Kai Vierstra.

Transportation directions from Lower Manhattan to downtown Jersey City.

 

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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SILVERMAN and Majestic Theatre Condominium Association present
Shauna Finn: Possession

Opening Reception: Wednesday, July 9, 2014, 6–8 p.m.

The Majestic Theatre Condominiums
222 Montgomery Street
Jersey City, NJ 07302
201.435.8000

Exhibition Run: July 9, 2014–October 31, 2014

Shauna Finn, Liminal, 2013, oil on canvas, 60 x 48 inches

Shauna Finn, Liminal, 2013, oil on canvas, 60 x 48 inches

“Painting is a constant battle between restraint and spontaneity” — Shauna Finn

SILVERMAN AND MAJESTIC THEATRE CONDOMINIUM ASSOCIATION present “Shauna Finn: Possession,” curated by Brendan Carroll. This exhibition includes approximately seven oil paintings on canvas and wood from the previous 18 months. Each canvas depicts a young woman in an elaborate gown set against a flat and nondescript background. The work is an engaging combination of straightforward realism and the fantastic.

This series started out with Finn’s simple desire to paint her wedding dress, an Art Deco-inspired gown embellished in tulle, satin, lace, and beads. “The dress has a lot of razzle-dazzle…it’s all about sparkles, adornment, beauty,” notes the artist. On the surface, the idea to paint her wedding dress may appear sentimental to some viewers. It’s not.

The dress, with its rich array of visual components, provided Finn an ideal opportunity to challenge herself as artist. Finn, by nature, is a direct painter, who, on occasion, is known to slap paint onto canvas with the speed and improvisation of footballer Lionel Messi. This type of headfirst assault would not work. She would need to use a more tactical approach to convey the waiflike material of the dress.

To achieve the level of realism and luminosity the artist desired, she needed to rein in her instinctual drives as a painter. Like the old masters, she uses very thin incandescent paint layers, which do not hide the drawings below. These translucent layers are supplemented by direct, descriptive brush strokes in thicker paint on top. 

Finn uses these techniques not only to sculpt and model three-dimensional form, but also to create a curious radiance that borders on the ethereal.

“I am very consciously trying to make a brush stroke and leave it, or wipe it off if it doesn’t work. I think the key is having a vision and following it. You have to hold that vision in your mind, and each brush stroke has to be deliberate.”

In Liminal, time seems to stand still in the languid setting. A young woman lies prone on a sofa inside an empty room. She is wearing a sumptuous wedding gown, which includes a luminous veil that is unceremoniously placed beneath her head. In her hands, she clutches a crown to her breast. Oblivious, she does not make eye contact with the viewer as she stares off into the distance.

This painting stirs many questions: Who is this woman? Is she a bride, a princess, a prom queen, or a corpse? Where is she? Is she in a bedroom or a tomb?

“I like that each viewer can play a part in finding meaning. I don’t set out with a narrative or concept in mind.”

Finn received her BFA from California College of Arts (1998) and her MFA from New York Academy of Art (2005). Sotheby’s, Mark Miller Gallery, Kraine Gallery, Sloan Fine Art, and The Getty Center, among others venues, have shown her paintings in group exhibitions. She has been the recipient of numerous residencies, including Eden Rock, St. Barthelemy, French West Indies and the Prince of Wales Foundation in Château de Balleroy, Normandy, France. She is from Southern California. She lives and works in Jersey City, New Jersey.

The exhibition will be on view at Majestic Theatre Condominium Associationthrough October 31, 2014. For further information, please visit us at SILVERMAN or call number (201) 435-8000.

“Shauna Finn: Possession ″ is the twentieth exhibition that Brendan Carroll will organize for SILVERMAN.

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

SILVERMAN has presented the works of Melanie Vote, Paul Lempa, Fanny Allié, Michael Meadors, John A. Patterson, Charlotte Becket, Roger Sayre, Karina Aguilera Skvirsky, Tom McGlynnMargaret MurphyValeri LarkoTenesh WebberGlenn GarverJennifer Krause ChapeauMichelle DollTim HeinsMegan MaloyLaurie Riccadonna, Thomas John Carlson, Tim DalyAnn FlahertyScott TaylorJason SederSara WolfeBeth Gilfilen, Andrzej Lech, Hiroshi KumagaiTom McGlynnVictoria CalabroAsha GanpatDarren JonesRyan Roa,Laura NapierRisa PunoNyugen E. SmithAmanda Thackray, and Kai Vierstra.