Cross Contemporary Art

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HYGGE

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HYGGE: Small Art Holiday Show

HYGGE: Small Art Holiday Show Dec. 1-31, 2017

The word HYGGE is a Danish term that is not found in English. HYGGE (pron. HOO-geh) describes a quality of cosiness and comfortable conviviality that engenders a feeling of contentment or well-being. As an untranslatable word, HYGGE is demonstrated by over 100 drawings, sculpture and paintings by the 50+ artists who have exhibited or supported Cross Contemporary Art and is celebrated with the community during the Holiday Season. The opening reception is Sat. Dec 2, 5-8pm and the gallery will serve traditional Danish Glug (mulled wine) every Sat. and Sun. afternoon until the end of the show on Dec 31.

Participating artists include:

Gregory Amenoff, Jeffrey Bishop, Richard Bosman, Katherine Bowling, Colin Chase, Mike Cockrill, Gregory Crane, Ford Crull, Peggy Cyphers, Carol Diamond, Josh Dorman, Richard Edelman, Mary Anne Erickson, Stuart Farmery, Brian Fekete, Jeanette Fintz, Deborah Freedman, Ginnie Gardiner, Ashley Garrett, Barry Gerson, Kathy Goodell, Jacqueline Gourevitch, Brenda Goodman, William Greenwood, Anthony Haden-Guest, Jared Handelsman, Jan Harrison, Laura Hexner, Jennifer Hicks, Jim Holl, David Hornung, Roshan Houshmand, Catherine Howe, Heather Hutchison, Mark Thomas Kanter, Ellen Kozak, Alex Kveton, Matthew Langley, Ian Laughlin, Linda Levit, Lucinda Abra, Tom Luciano, Iain Machell, Dorothea Marcus, Susan Mastrangelo, Claudia McNulty, Portia Munson, Paul Mutimear, Garry Nichols, Tina Piccolo, Debra Priestly, Lily Prince, Ann Provan, David Provan, Suzanne Rees, Christy Rupp, Christopher Skura, Melinda Stickney-Gibson, Nadine Slowik, Lawre Stone, Jack Solomon, Shira Toren, Marianne Van Lent, Marie Vickerilla, Grace Wapner, Ruth Wetzel, Susan Wides, Brian Wood, Dion Yannatos and more!

HYGGE: Small Art Holiday Show Opening Reception: Dec 2, 5-8pm

SPECIAL EVENTS DURING HYGGE: Small Art Holiday Show

Sun. Dec 3, 4pm: Reading by Larry Littany Litt of his recent book Mad Monk: Modern Parables at Cross Contemporary Art

Sun. Dec 3,12-5pm Holiday in the Village sponsored by the Saugerties Chamber of Commerce featuring a toy raffle, horse and wagon rides and a petting zoo

Sat. Dec 9, Home for the Holidays 3pm-8pm The Village of Saugerties celebrates the holidays with events, gift basket raffle, caroling, contests and special refreshments!

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Peggy Cyphers: Modern Fossils

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Peggy Cyphers: MODERN FOSSILS

Peggy Cyphers’ painting continues her long-held interest in the world of naturally occurring opposites: creation and destruction, growth and decay, rebirth and transformation. Cyphers’ use of paint and sand textures transforms the artist’s ephemeral gestures into more permanent Modern Fossils. The mark-making and pigment layers seize the beauty within water, sky and the abiding commonality of all beings. Modern Fossils reflects the constants of chaos and order in the natural world, freezing a fragile moment in time of a complex Darwinian evolutionary dance.In the Brooklyn Rail, Jonathan Goodman writes about Ms. Cyphers: “Cyphers makes it clear that she has opted for a double awareness, in which non-objective insight vies with close scrutiny of the natural world.” New York Times’ Roberta Smith notes that Cyphers paints “in an effortless style…with various ideas in the air: notational, pattern-prone motifs, landscape references and allusions to textiles and fabric.”

About Peggy Cyphers:  Peggy Cyphers’ work can be found in many important museum,university and public collections including National Gallery, Washington, D.C., Library of Congress, Smithsonian Institution, Washington, D.C. National Museum of Women in the Arts, Columbia Museum of Art, Columbia, S.C. Seattle Art Museum. Seattle, Wash. and the Cedar Rapids Museum of Art, Cedar Rapids, Iowa to name but a few. She is a recipient of many Grants include National Endowment for the Arts, Peter S. Reed Foundation, The Elizabeth Foundation, National Studio Award PS.1. Residency awards include Yaddo, Art Omi, Tong Xian Art Beijing, Santa Fe Art Institute, ISCP, Triangle & Clocktower/P.S.1. Peggy Cyphers is a tenured adjunct professor of Visual Arts at Pratt Institute. More information about the artist can be found:
Video interview: https://vimeo.com/86328765
Wikipedia: http://en.wikipedia.org/wiki/Peggy_Cyphers

     Peggy Cyphers: MODERN FOSSILS opens on November 4th with an artist’s reception from 5-8pm and will run through November 26th. 

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Mono-a-Mono: Gregory Amenoff and Richard Bosman Monotypes

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 Mono-a-Mono: Gregory Amenoff and Richard Bosman

 
Mono-A-Mono: Gregory Amenoff and Richard Bosman is an exhibition of monotype prints by two artists and friends. This show is the culmination of weekly sessions at Area 241 print studio in nearby Kingston, NY. For over 30 years, Bosman and Amenoff have separately used printmaking to support their painting process and throughout their careers, have worked with some of the most important ateliers and technicians in the USA and abroad. Mono-A-Mono is the first time these two artists have worked side-by-side, and together with artist/printmaker Stephen Kursh, have produced a body of painterly prints.

     About Gregory Amenoff and Richard Bosman: The careers of both Gregory Amenoff and Richard Bosman began in the early 80’s with their individual transfers to New York City. They are both Guggenheim fellows and their work is in many distinguished museum, university and corporate collections. Although their artistic subjects are quite different as Amenoff paints the drama of telluric forces in landscape and Bosman focuses on open-ended story-telling involving people and habitat, both artists are committed to expressive, gestural brushwork and assertive, dynamic forms. The challenge of the monotype process allows for the transparent mark-making to become apparent as the surface of the paper shines through each individual brush stroke. Mono-a-Mono: Gregory Amenoff and Richard Bosman is the first show for both of these artists that is dedicated to the direct, painterly process of monotype printmaking.

Mono-a-Mono: Gregory Amenoff and Richard Bosman opens Fri. June 30th and continues through Sun. July 23rd, 2017.

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GAMUT: A Group Show about Color

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GAMUT: A Group Show about Color
with Jeffrey Bishop, Jeanette Fintz, Matthew Langley and David Provan

Opening Receptions: Fri & Sat. June 2 and 3rd, 5-8pm

Cross   Contemporary   Art


*NEW LOCATION*
99 Partition St. Saugerties, New York 12477
on view thru June 25
GALLERY HOURS: Thurs- Mon 12-5pm

GAMUT: A Group Show about Color features paintings and drawings by Jeffrey Bishop, Jeanette Fintz and Matthew Langley and the sculpture of David Provan.
The exhibition presents contemporary expressions of color and line through 2 and 3 dimensional space. The term “Gamut” is used in color theory to express the means by which the entire range of color can be represented. In this show, Bishop, Fintz, Langley and Provan explore the power and vibrations of colors as they interact with one another using line, form and gesture.

About   the   Artists:

Jeffrey Bishop: Jeffrey Bishop has shown his work nationally and internationally for many years including solo shows at the Seattle Art Museum, Miami University (Ohio), the Danforth Art Museum in Framingham, MA and San Diego State University as well as numerous solo gallery and group shows. He taught for many years at Cornish College of the Arts in Seattle, WA but now makes his home and studio in Brooklyn, NY. He most recently completed a residency in Berlin. More about Jeffrey Bishop: http://jeffreybishop.com

Jeanette Fintz: Jeanette Fintz is a painter, art educator, art writer and independent curator who is the recipient of many grants, travel stipends, artist residencies and awards. Her abstract paintings have a geometric substructure that supports vibrant color expressions. Carter Ratcliff writes: “…we might well imagine that she (Jeanette Fintz) is the traveller, reflecting on experiences that are of course individual not universal.Yet she travels confidently in the realm of universals”. More about Jeanette Fintz and her work: http://jeanettefintz.com

Matthew Langley: Matthew Langley’s prolific works on paper are studies about brushwork and gesture as well as color vibrations and their interactions. Stripping art down to the visual essentials and creating multiple paintings on minimalist themes, Langley, according to Kriston Capps, “proves to be more recidivist than redux”. Mr. Langley has shown extensively throughout the United States and his work can be found in many public, private and corporate collections. More about Matthew Langley: http://matthewlangley.com

David Provan: David Provan explores color and form to create sculptural diagrams of spiritual experience. The chromatic brilliance of the powder coat surface on steel structures make an unambiguous statement about presence. Mr. Provan has been the recipient of a Pollack-Krasner Foundation Grant and his work is in many private and public collections including the MTA Arts in the Subways Permanent Collection and in the Yale University Art Gallery. More about David Provan: http://davidprovan.com

GAMUT: A Group Show about Color opens with two artists’ receptions on Friday, June 2 at 5-8pm and on Saturday, June 3, 5-8pm and runs through June 25, 2017.

Installation by Matthew Langley 2017
Blue Turk © Jeffrey Bishop 2009 oil and acrylic on canvas 30" x 26"
Red Tumble and Flow © Jeanette Fintz 2015 acrylic on canvas 60" x 72"
Pyrogyro © David Provan 2013 powder coat on welded steel
red turk

[Show slideshow]


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Mike Cockrill

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Mike Cockrill
In Retrospect

The War Between the States: The Confederacy vs. Arnold Palmer © Mike Cockrill 2016

Opening Reception Sat. May 6th
Cross Contemporary Art
99 Partition St. Saugerties, New York 12477
on view thru May.28, 2017

GALLERY HOURS: Thurs- Mon 12-5pm

Cross Contemporary Art inaugurates its new 1,000-square-foot space at 99 Partition Street, Saugerties, NY, with a survey of paintings, works on paper and iron sculpture by Mike Cockrill.
            The exhibition will include over 40 drawings that trace the artist’s evolution over the past 20 years from his gun-wielding clown-killer girls of the ‘90s to his recent modernist drawings and collages of fragmented female figures.
            One of the most frequent themes of Cockrill’s drawings is the relationship between artists and their subjects; they are explorations of the moments of creation. In several drawings, girls stand at easels and draw clowns while in other drawings the girls themselves become the studio models for clowns and as well as baboons and chimpanzees who sit at easels with poised brushes studying their human subjects. His large new painting, “New Mom,” (2014), continues this theme in a monumental scale.
            Cockrill’s never-before-seen sculptures, “Iron Men,” relate to his Existential Man series of paintings; cast in iron from styrofoam constructions and given a rich patina, Cockrill’s sculptures seem to rise and crumble at the same time.
            Blending both the playful and the serious, Cockrill’s challenging art continues to foster compelling conversations about social values and artistic expression.
            Mike Cockrill has had over 20 solo exhibitions both nationally and internationally. His paintings were included in the 2016 Outlaw Bible of American Art, published by Last Gasp.

MIKE COCKRILL: In Retrospect opens with a reception for the artist on Saturday, May 6, 5-8pm and runs through May 28, 2017.
New Mom © Mike Cockrill 2014 oil on canvas
Artist and Model (Monkey Shoes) © Mike Cockrill graphite, ink, charcoal on paper
Iron Men © Mike Cockrill 2016 cast iron, wire, patina
Blue-Eyed Lady © Mike Cockrill 2017 mixed media on paper

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Work by Goertz, van Lent & Wood

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Trio:  Augustus  Goertz,  Marianne  van  Lent  &  Brian  Wood

Opening Reception Sat. March 5, 2016
on view thru March 27, 2016

“Trio: Augustus Goertz, Marianne van Lent and Brian Wood” is an exhibit of three artists’ abstract meditations of life and its many manifestations. From Brian Wood’s figural/vegetal forms to van Lent’s gestural landscapes and Goertz’ intense textural universes, there is an ambiguity of scale that slides from the cellular to the immense. Each artist contributes to a unique understanding of existence as an eternal shifting of energy from great to small, distant to intimate, fleeting and permanent. This seesawing back and forth in scale allows the viewer the distinct experience of multi-dimensional travel and the compression of simultaneous time.

“Trio: Augustus Goertz, Marianne van Lent and Brian Wood” is co-curated by Ford Crull and Jen Dragon. 

About the Artists:

Augustus Goertz: 
Augustus Goertz’s paintings involve a building of texture and pigment creating a hybrid sculptural surface.  This construction allows the nuances of changing light to participate in the experience of the artwork. The scale of his canvases shifts from aerial to terrestrial, from the vast sweep of a landscape to the miniaturization of a child’s toy. These paradoxical references give the viewer a distinct sensation of swinging from one reality to the next through an environment at once infinitely large and minute. More about the artist: http://bit.ly/ccagoertz

Marianne van Lent:
 Marianne van Lent captures the transcendence between the spiritual and material worlds. There may be suggestions of scale in her paintings with the inclusion of landscape references or biomorphic elements however she bypasses that reality by allowing indeterminate and mystical elements to float through, as if they were thoughts in the mind’s eye, intimate psychological states or the elusive space between worlds. More about the artist: http://bit.ly/ccamvlent

Brian Wood:
The paintings and drawings of Brian Wood create a powerful experience of organic forms in ambiguous scale. Colorful, biological shapes create their own luminosity in the darkness of the canvas or carve a precise, figurative contour from the whiteness of paper. It is not clear if we are encountering massive planetary movements, minute atomic reactions or intimate bodily sensations, nor is it meant to be. Mr. Wood, a Guggenheim Fellow, is in the permanent collections of the Museum of Modern Art in New York, the Brooklyn Museum, and the Metropolitan Museum among many other distinguished public and private collections. More about the artist:http://bit.ly/ccawood

Last Call ©Augustus Goertz 1997
Neverland © Marianne van Lent 2015
Phos ©Brian Wood 2015
Nod © Brian Wood 2012
Locks © Brian Wood 2015 oil on wood
Heartshorn © Brian Wood 2017 oil on canvas
End of the Line © Brian Wood 2017 oil on line

[Show slideshow]

Katherine Bowling: The Presence of Leaves

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Katherine Bowling: The Presence of Leaves

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 Katherine Bowling’s imagery uses the landscape to create intimate spaces. Inspired by the environment of upstate New York, her woodlands are illuminated by dappled light sparkling through a leafy ceiling. Often Ms. Bowling’s paintings compel the viewer to enter this shimmering forest realm down a pathway away from civilization. Other images introduce the contrast between the decay of manmade structures and the grand, renewable cycle of the surrounding trees. And like Albert Pinkham Ryder before her, Katherine Bowling sometimes boldly paints a portrait of the moon with a silvery light that is in elegant contrast to the habitual golds of her sunlit forests. Although Ms. Bowling’s paintings and prints are in the tradition of the Hudson River School, her expressive technique, quiet symbolism and masterful spatial illusions take the idea of landscape painting into the 21st century.
About Katherine Bowling:
Since her emergence in 1980s, Katherine Bowling has been well respected as an American painter and printmaker. Ms. Bowling has been the recipient of a National Endowment for the Arts Grant, New York State Foundation for the Arts Fellowship and a Mid-Atlantic Arts Foundation Fellowship. Her work is in the collection of the Metropolitan Museum of Art, The Brooklyn Museum and the Fisher Landau Center in New York City, the Orlando Museum of Contemporary Art and the Norton Museum of Art in Florida as well as the Phoenix Art Museum in Arizona, the Mary and Leigh Block Museum of Art in Evanston, Illinois and St. John’s University in Santa Fe, New MexicoMore information about the artist can be found:
Artist’s website:  http://katherinebowling.com/
Wikipedia: https://en.wikipedia.org/wiki/Katherine_Bowling
NYTimes Art Review: http://bit.ly/ccakbnyt
Almanac Weekly: http://bit.ly/ccakbaw

Susan Copich “Domestic Bliss”

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Susan Copich “Domestic Bliss”

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Since Susan Copich’s first exhibit of “Domestic Bliss” in 2014 (Umbrella Gallery, NYC), her photographs rapidly travelled over the internet generating tremendous response. Images from the exhibit flashed across countless computer screens worldwide. The elegant scenes depicting suburban privilege are at first glance banalities often found in lifestyle magazines. Like advertisements for an ideal life, the photographic quality and composition mimics a marketing illusion. However, the carefully composed veneer is part of Copich’s message: a fur coat, a swimming pool, an elegant dining room with picture windows, a dream kitchen are all a staged set prepared for actors posed in a “tableau vivant”. But the challenging gaze of the photograph’s female protagonist demands closer examination revealing darker ironies: the pain of parenting, the cruelty of intimacy, the ache of ambivalence, the recklessness of desire, and ultimately the loss of illusion. To engage with these photographs in a gallery, and not through the Internet, is the best way to understand the irony of Ms. Copich’s storytelling. “Domestic Bliss” is a mirage as the moment is imagined while the story-line continues to roll past the stills. The pretty blonde woman staring out at the viewer, is the only moral compass that is constant throughout the photo series. She challenges us to experience the discomfort of the tableau and dares us to recoil from the scene. She presents the taboos of our society and acts as the silent narrator of a morality play frozen by the camera’s eye. The over arching lie of Susan Copich’s “Domestic Bliss” tells a harsh truth by peeling back the veneer of civilization to reveal the danger of denial.
Susan Copich writes about her work: “I dwell in the dark thoughts and recesses of my mind to create character and subject…(and) navigate both my own personal imperatives as woman, artist, mother and wife, as well as those – personal, social, and cultural -that are imposed by
others. My work is my commentary on how a family can live a public life that is far from their private life, even within the family; how secrets are kept, coddled and nurtured”

About Susan Copich:

Since graduating Ohio State University (BFA, 1991), Susan Copich has had professional careers as a modern dancer, teacher and actress. Looking to explore new forms of art and self-expression, Copich returned to academia at New York City’s International Center of Photography. While at ICP, Ms.Copich began laying the mental framework for what would become her photographic series “Domestic Bliss”.The series gives voice to Copich’s inner “darkness” while examining family life in a humorous context. Like many celebrated contemporary artists, Copich’s art rarely inspires a moderate response. Copich’s journey to explore universal truths are celebrated by some and shunned by others. Susan Copich lives in Upstate, NY where she resides with her husband and two daughters.
More information about the artist can be found:
Artist’s website: http://susancopich.com
Media reviews/Interviews (selected):
Daily Mail: http://bit.ly/ccascop1
Slate: http://bit.ly/ccascop2
BoredPanda.com: http//bit.ly/ccascop3
Huffington Post: http://bit.ly/ccascop4
Bust.com: http://bit.ly/ccascop6
Beautiful Decay: http://bit.ly/ccascop7

CATHERINE HOWE SOLO SHOW

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Catherine  Howe

Supreme  Fiction:  Monotypes  &  Mylar  Paintings 

Solo  Exhibition  July  3  –  26,  2015

Supreme Fiction: Monotypes and Mylar Paintings by Catherine Howe opens with an Artist’s Reception July 35-8pm at Cross Contemporary Art, Saugerties and runs through July 27th, 2015. Inspired by the luscious paintings of the Baroque era, Catherine Howe’s riotous compositions bring still lifes and botanicals into the 21st century. Her exuberantly expressive brushwork  and attention to surface create vibrant works out of uniquely contemporary materials such as carborundum grit and polyester. The luminous results resist being categorized as solely, drawings, paintings, or prints. David Ebony writes “Howe’s still lifes…are anything but still. The images seem to be imploding or exploding, in a constant state of flux.” Michele C. Cone says about Ms. Howe: “Howe’s evocative paintings are not about still life per se, but about the naming of things transposed into paint, and the magical interaction between medium, memory and perception.”Supreme Fiction: Monotypes & Mylar Paintings by Catherine Howe” opens July 3-26.
About Catherine Howe: Catherine Howe received an MFA from SUNY Buffalo in 1983. She has been reviewed in many publications including Art in America, Artforum, Art Critical, The New York Times, The New Yorker, and the Los Angeles Times. For over twenty years, Ms.Howe has exhibited throughout the United States and Europe  including shows at the Corcoran Gallery of Art in Washington, DC, MoMA PS 1 in New York, and the Albright-Knox Art Gallery in Buffalo. Catherine Howe is on the faculty of the New York Academy of Art in New York City.More information about the artist can be found: 
Artist’s website:  http://catherinehoweartist.com
Video interview: http://bit.ly/ccachow1

Gregory Amenoff: Selected Prints

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Gregory  Amenoff:  Selected  Prints  1983-2013

     “Gregory Amenoff: Selected Prints 1983-2013” is the first solo exhibition of woodcuts, lithographs, intaglio and monoprints in this artist’s distinguished career. The show opens with an Artist’s Reception Sat, April 11, 6-8pm at Cross Contemporary Art, Saugerties, NY.  Known primarily as a painter, Mr. Amenoff has also had a long career as a printmaker. This survey traces Mr. Amenoff’s first forays into large format color block woodcut through to his later painterly monoprints, aquatints and lithographs. Whether its painting, prints or drawings, Gregory Amenoff works in the tradition of the great American nature painters using the landscape as the inspiration for his abstract imagery. According to Rachel Rosenfield Lafo,  “Gregory Amenoff responds intuitively to stimuli in the natural world of landscape and atmosphere and the inner worlds of emotion and spirit, blending his perceptions into organically abstract images. In his work the outer world is internalized; the inner world is manifested in visible form.” For those who have followed Gregory Amenoff’s career as a painter, this exhibit will present his changes and discoveries as an artist and the influences these discoveries have had on his painting. For those new to Mr. Amenoff’s work, this show will be an exciting introduction to a great 21st century American artist.

 

About Gregory Amenoff: Gregory Amenoff’s work can be found in many important museum and public collections throughout the world including The Metropolitan Museum of Art, The Modern Museum of Art (MoMA), The Museum of Fine Arts, Boston, Whitney Museum of American Art, The Art Institute Of Chicago and The Brooklyn Museum, to name but a few. Mr. Amenoff is a multiple recipient of the National Endowment for the Arts Award in Painting, American Academy of Arts and Letters Purchase Award and in 2011, he was named a Guggenheim Fellow. Gregory Amenoff holds the Eve and Herman Gelman chair of Visual Arts at Columbia University and received an Honorary Doctorate in Fine Arts from the Massachusetts College of Art.  Mr. Amenoff works and lives in New York City and Ulster County, New York.