Cross Contemporary Art

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Cross Contemporary Art Closing by Paul Smart for Hudson Valley One

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Cross Contemporary Art gallery in Saugerties closes

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(Photos by Dion Ogust)

Resplendent Sunday evening at her gallery’s closing, Cross Contemporary Art’s owner and founder Jen Dragon’s platinum locks cascaded over the top of a black velvet dress. She was treating the presence of a similarly black broken-leg scooter almost as a fashion accessory. 

Most of the talk that Dragon engaged in started with her answers about why she was closing after four and a half years on Partition Street in Saugerties. In local pre-history, the place had started as an art-exhibition experiment in the rambling studios of the late painter-philosopher Bernard X. Bovasso on Cross Street a short distance away.

For years, Dragon said, her art endeavor – which brought together a sparkling constellation of some of the region’s top full-time artists and writers, abetted by regular additions of implants from New York City and elsewhere – was made possible by her work as a professional art restorer with a specialty in old maps. She made just enough from sales, largely online, to keep everything afloat. She moved first a few doors down Partition Street, and then into supplemental storefronts when they emptied out, awaiting new tenants. Eventually outside curating events in Woodstock and elsewhere came to be.

“As we live, we collect, and what we collect becomes our totems — reliquaries of our hopes and poignant representatives of who we are and want to be,” Dragon wrote in her first Cross Contemporary show at 81 Partition Street, which brought together pieces she’d collected through various means over the years. “The private art collection is an installation that becomes a personal environment. Each collector acquires objects made by others and creates a private museum …. The attempt to connect to timelessness through art acquisition is heroic. To seek connectivity through disparate elements is an art in itself. The dispersion of a collection is natural to its life cycle as paintings and sculptures scatter again across the world to be recombined in another space and time. And a new installation is born.”

Jen Dragon

That first exhibit included pieces by friends and teachers, teachers of friends, friends of teachers. There was an Albrecht Dürer print, something by the noted British abstract painter Sir Terry Frost donated by his sculptor son Adrian, whom Dragon showed while still working with the raw space on Cross Street. The show was a knockout.

Then Dragon dug in and started producing strong solo shows, group undertakings, and matchings. Gallery openings spilled out onto Partition Street (she started off where Imogen Hollaway Gallery had helped pioneer a Saugerties arts renaissance).

Dragon helped start a Saugerties sculpture festival. She helped other commercial spaces start showing art. She was contacted by realtors who wanted to bring buyers around by having art events. Cross Contemporary got kudos in the local press. The New York art media began to pay attention to what was happening in Saugerties. Dragon moved her gallery to a larger space up the street, at 99 Partition.

“With a heavy heart, I have to announce that Cross Contemporary Art will close its doors on Sunday, December 23, 2018,” she wrote. “In the past four and a half years, I have curated, installed and exhibited the work of 92 artists and 840 artworks in 56 exhibitions. It has unfortunately become increasingly difficult to sustain the gallery in its Saugerties location. However, I am still pursuing other options, and it is likely that Cross Contemporary Art will resurface in a new venue in the not-too-distant future.”

Dragon said she would continue to curate shows under the name Cross Contemporary Projects, “so please stay in touch and continue to follow Cross Contemporary Art.” She expressed gratitude “to all of the artists, visitors, journalists, art lovers, poets, writers, art critics and art collectors who have helped make Cross Contemporary Art a unique place to see extraordinary contemporary art.” Though she’s miss everyone, “at least now I’ll have more time to attend other openings and events.”

Sunday’s closing party was crowded. Pollock-Krasner award winners mingled with Guggenheim fellows and a who’s who of the Hudson Valley’s more serious arts scene. Conversation was witty, full of new opportunities and great sightings.

Dragon’s current push, she said, was to find “a big girl’s job, with big-girl money.” At evening’s end, artists and critics all headed across the street to Pig to gather around a long table and celebrate, salon-style. 

It was a fitting end for a fine experiment in the roles aesthetics can play in a tempered, saddened world.

Millicent Young Reviewed in WhiteHot Magazine by Jonathan Goodman

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Millicent Young

by JONATHAN GOODMAN, December 2018

At the end of a strikingly forthright artist’s statement, upstate New York artist Millicent Young asserts, “To be changed is to create change.” There is no better way of communicating the reality of emotional transformation and its consequences, in art especially. Young comes from New York City, but has spent much of her adult life in Virginia and now in the Saugerties area–her penchant is for solitary walks in nature. Her feeling for natural materials and an idiosyncratic, autonomous identity as an artist makes itself known in the fine show at Cross Contemporary Art, which presents a small retrospective of the themes important to the artist. Materials, horsehair in particular, mean a lot to Young; her work exists decidedly on the side of the organic. This strikes the viewer both as a personal statement–the artist lives close to the countryside–and as an elegiac report on the slow but sure destruction of the landscape.  

Millicent Young, Luminous Room Prototype 116 x 48 x 48 horse hair, steel

The long rectangular space of the gallery is amply suited to Young’s broad array of work, mostly three-dimensional but also flat in a few cases. The pieces don’t establish much of a close dialogue with each other; instead, they present as self-sufficient entities whose origins and inspiration are as much spiritual as they are concerned with what they are made of. Still Reach (2014) consists of a rounded column of horsehair rising from a gray ceramic container; the hair is quite dark just above the container but immediately becomes a light grayish-tan as it moves toward the ceiling. In fact, the hair is hung from the ceiling it nearly touches; the piece’s presence is based on a trick of the eye. It lends itself to any number of interpretations–a geyser of water, a hairy architectural shaft, some very strange plant. Memorable in form, Still Reach also conveys a deeply spiritual ambience, something beyond our capacity with words. 

Millicent Young, Still/Reach 117 x 14 x 14 clay, horse hair 2014 Michael Bailey

Canto for the Anthropocene: 33 (2018) consists of a square plate of lead lined with horizontal rows, from which horsehair cascades. (The plate is framed by a thin, square piece of wood attached to the wall. The simple geometric form of the square, accentuated by the lines of open holes, is thrown into havoc by the horsehair that falls out of the openings. It is a piece that actively mixes rational restraint and free-wheeling display, challenging Young’s audience to hold in mind, in the same moment, two very different ways of constructing art. The title indicates we are living in a time of dominant humanity, and the grid of holes is clearly a man-made form. But the hair, slightly wild in its irregular energies, suggests something beyond the grasp of people. Humanity is regularly defeated by nature in Young’s art–even if nature is now regularly experienced as a memory! Luminous Room (2016) faces visitors entering the gallery from a distance; it is a series of wheat-yellow horse-hair strands, collected into a grid while hanging from ceiling to floor. As with most of Young’s art, one doesn’t have an exact sense of the piece’s meaning, but the title here suggests that there are places where visionary beauty can and does exist–as we experience with the piece itself.

Temple for Grieving (2012) consists of a thin, red flame-like image on paper, its upper register consisting of thin lines driving upward but separate from each other. The work is elaborately framed; thin strips of wood extending slightly beyond each other hold the image in immediate place, but beyond this first frame is a bigger one: a thicker rectangle extending a couple of inches from the wall on which the entire piece is hung. On the bottom crossbar, there are three square openings; the middle is stuffed with a pink fabric that has been folded and tied into bundles. Young’s title reminds us that she has a gift for poetic wording; like much of her work, this piece mysteriously evokes elegiac feeling without specifying what caused that feeling. Extinction (2017), another two-dimensional work of art, consists of two muddy splotches on white paper, which is surrounded by a dark gray paper frame. Formless, lacking any distinguishing feature, the image offers very small hope to the viewer who seeks solace. Even the faint writing and counting marks on the paper, while visually compelling, seem extraneous to the general point of nature’s defeat. 

Millicent Young, Temple for Grieving 45 x 24 x 4 wood, paper, red iron oxide, silk, 2012

An unspoken mourning is communicated in the pieces described here, but it cannot be said that despair takes over. Young’s art is so good, so well made, that it radiates something close to praise even as it momentarily succumbs to a truly bleak sense of what people are doing to the landscape. The woods have always been the real source of metaphor, and our managed forests feel imaginatively bankrupt in the face of a genuinely untampered treeline. Young knows this deeply and is committed to making art meant to reawaken a sense of commitment to an outside world we will never fully control and, sadly, have done so much to destroy. Doing so may appear impossible so very late in our natural history; climate warming has been a reality for decades. Yet Young’s art presents a space filled with structure that keep our imagination alive, however momentarily and however distant from an untouched environment. Thus her work proves that art is not only a human endeavor, it is also a place of praise for a realism that is not humanly conditioned, despite the fact we have done our best to forget so. WM

Millicent Young Solo Show

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Millicent Young

Of This 



Curated by Melinda Stickney-Gibson and Jen Dragon

Opening Reception Sat. Nov.3rd

Cross Contemporary Art
99 Partition St. Saugerties, New York 12477

on view thru Dec. 9th, 2018

GALLERY HOURS: Thurs- Mon 12-5pm


Millicent Young’s solo show  Of This  opens with a reception for the artist on Sat. November 3rd, 5-8pm at Cross Contemporary Art, Saugerties, NY.


Of This  is an installation of sculpture by Millicent Young curated by Melinda Stickney-Gibson and Jen Dragon. Filling the gallery with a survey of her work from the past decade, each sculpture is a sensitive meditation on space and being. Young uses her materials of horsehair, lead, string, wood, wax and paper to capture the vissitudes of light and shadow. The fierce truth of her forms alternate between a keen awareness and dream-like shadows. A visual poet, Young’s work echoes the trembling edges of nature and her suspended installations and wall pieces reflect her long examination of layered luminosity defined by memory and consciousness. Millicent Young’s work demands that the viewer take more than a passing glance to really “see” it, and that pause leads to slowing down enough to consider bigger, more open-ended questions.

Millicent Young’s solo show  Of This  opens Sat. November 3rd and continues through Sun. December 9th, 2018.


About Millicent Young:

Born in New York City, Millicent Young received her MFA from James Madison University and two Professional Fellowship Awards from the Virginia Museum of Fine Arts. Exhibiting widely, her work has been recognized by curators and directors from institutions including DIA, Hirshhorn, New Museum, Guggenheim Museum and Whitney Museum. Young’s work received a top award at the 2005 Biennale in Florence, Italy. Her most recent solo show, “Cantos for the Anthropocene”, was at Les Yeux du Monde Gallery in Virginia. Millicent Young currently resides in the Hudson Valley of New York State.



depleted uranium © Millicent Young steel, plaster, ink, depleted uranium




About the Curators:

Melinda Stickney-Gibson is a painter whose work can be found in many public collections including the Neuberger Museum of Art, Purchase, NY, The Dorsky Museum, SUNY New Paltz, San Francisco Opera Plaza, Tribecca Bridge Tower, Triptych Films, Los Angeles and other corporate and private collections. Ms. Stickney-Gibson has also curated  the exhibitions TERRA in 2017 and THE HAIKU BOX PROJECT in 2018 for the Woodstock Byrdcliffe Guild.

Jen Dragon is the curator/director of Cross Contemporary Art, a visual arts gallery founded in 2014 in Saugerties, NY.

3:Brenda Goodman, Christina Tenaglia and Marie Vickerilla in the Brooklyn Rail

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Brooklyn Rail July 11, 2018

by Jonathan Goodman

3:Brenda Goodman, Christina Tenaglia and Marie Vickerilla

Curated by gallery founder Jen Dragon and prominent New York art writer Eleanor Heartney, 3: Brenda Goodman, Christina Tenaglia, and Marie Vickerilla includes the abstract paintings of Brenda Goodman, Marie Vickerilla, and the painted composite constructions of Christina Tenaglia. The works, seen in a long, spacious gallery upstate in Saugerties, look formally like near relations. All the women are interested in pushing abstraction ahead, to a place where painterly memory gives way to forward thinking; at the same time, Goodman’s work includes figuration. Given that abstraction has held a dominant place for several generations in New York—the three artists have either lived in New York or worked in close proximity to the city—it is inevitable that their idiom belongs generally to modernist abstraction and, more particularly, to the New York School. To the curators’ credit, the exhibition asserts a language that is innovatory, well crafted, and, at the same time, accessible in light of what preceded it.

A long-time resident on the Bowery in lower Manhattan, Goodman moved to the northern Catskills ten years ago. Her earlier work was notable for her harrowing self-portraits in which she described her body in extreme variations of weight. But this new work is entirely abstract and achieves a high level of sophistication and, even more important, a sense of departure. The large painting, Tomorrow’s Promise (2017), is an amalgam of different patterns and effects: the background consists of two major amorphous forms, orange on the top and a dark charcoal-gray beneath. Both areas have thin black lines drawn on them, which look a lot like anarchic nerve patterns. On top of them is a paper-like strip creased in places and also covered with thin striations. On the right, beneath the heavy end of the orange splotch, is a light yellow form and, underneath it, a green one. They too have line decorations, with checkerboard imagery on some of their edges. The entire painting is a vivid consignment of variable effects, which communicate change even as they adhere to a single gestalt.

Brenda Goodman, The Thinker, 2017. Oil on paper, 6 × 8 inches. © Brenda Goodman. Courtesy Cross Contemporary.

Two smaller works, both six by eight inches in dimension, show that Goodman is remarkably gifted in small pieces as well as large. The Thinker (2017) consists of a big head topped with two shocks of black hair. The face has no features, but instead presents a larger white over a gray area, each filled with slanted lines that cross and create spaces, some of which are filled with black. There is a round neck on top of a white shoulder and a deliberately simple arm and hand; a dark brown ground, again taken up with thin black lines, holds the forms together. The other work, Turtle Head (2017), is recognizably exactly that—at the top we see a curved, gray cap-like form from which an eye protrudes, under which we find an area with criss-crossing black lines with black fillings on the right. Below is an open ovoid, likely where the creature’s neck would have been. Both drawings actively and forcefully incorporate nonobjective imagery into a recogonizably realist theme. Perhaps this is their strength: the successful combination of abstraction and figuration.

Marie Vickerilla, Power of Small, 2017. Oil on canvas, 54 by 54 inches. © Marie Vickerilla. Courtesy Cross Contemporary.



Vickerilla received a B.F.A. from the California College of Arts & Crafts and an M.F.A. from Bard College. She is a close colleague, stylistically speaking, of Goodman. Power of Small (2017) is a large painting: fifty-four inches square. In this painting, a large black mass takes up the lower-left quadrant; its edges are mostly linear, but in a couple of instances, are also slightly curved. On the upper right is an open square; the gray background shows through. On the lower right of the black form, just above the bottom of the composition, is a longitudinal opening, also filled with gray. To its right is a small, red, vertical stripe, the only true color in this bold work of art. Maybe the title refers to the small reddish form, whose importance to the painting’s balance is disproportionate to its limited size. Abstraction here is based on the eccentrically formed black mass at sea in gray, with the background asserting itself in its own right. Its ambience is slightly melancholic, even if we do not know what the painting means personally to the artist.

Vickerilla’s other works are both untitled; their dimensions are a foot square. One painting made in 2017 is composed of a purple stripe that forms a maze-like line on top of a brushily green background. Near to the center is a black triangular form that rests in the crux of the line as it moves upward from a horizontal. As a piece it is wonderfully structured, with the mauve stripe giving measure to the inchoate green backdrop. A work made in 2016 reiterates the psychic power of Vicerilla’s larger painting—it consists of a large black form covering the lower half of the left side of the painting and almost the whole of the right half, with a red vertical stripe on the left edge. The spaces left free by the black form are, on the upper left, tan-colored with drips of black, and on the right, we see a thin green stripe that separates the black from the painting’s edge on the right and bottom right. These works declare their own interest as pure abstractions; they do not imply something that is realistically imaginable. They work marvelously as nonobjective art.

Sculptor Tenaglia teaches at Vassar College. She received her B.A. from Vassar College and her M.F.A. from Yale University. Seen in the gallery, her sculptures maintain a ready dialogue with the other two painters. Her works are made primarily of wooden elements, pieced together with screws, along with porcelain and clay. They feel like highly gifted, nuanced revisions of cubist relief sculpture, along with the American penchant for honesty with materials. One untitled piece from 2016 consists of wood and fired clay. Essentially frontal in its orientation, the work presents three pieces: a tannish-yellow oval sandwiched between two black shapes, both of which are sharply angular—one of them is clearly a triangle. Extremely well made, this work quietly points out the need for good craft, a quality not always present in what we see today. Tenaglia connects with the classic modernism of roughly a century ago and makes good her wish to maintain an open dialogue with it, even as she pushes ahead.

Christina Tenaglia, untitled, 2018. Wood, paint, ink, nails, and screws. © Christina Tenaglia. Courtesy Cross Contemporary.



Another untiled work from 2018 hangs from a gallery wall. It is made with a wooden piece shaped slightly like a painter’s palette, with a nearly circular white form on its right bottom—the circle is cut off by the edges of the wood. Two fan-like shapes, yellow with ink on their lower edges, hang from the top of the wooden piece. A thin stick of wood maintains a horizontal line crossing the dip between the ends of the piece of wood serving as a backdrop. It is a work about measure—how differing parts can be put together in ways that keep the audience interested, even fascinated, by the way the works’ parts conjoin and interact. The final piece, made this year and like the other works, is unnnamed, consists of wood, stoneware, and porcelain. It too is a wall relief; a black disk—placed on top of a squared piece of wood with a partial circle of green echoing the disk’s edge—dominates the left half of the structure. On the right we see an egg-like shape in the upper part; beneath it is a horizontal band with vertical stripes, while to the right of the wooden piece is a green vertical bar to which the striped piece is attached. These descriptions make Tenaglia’s sculptures sound more complicated than they actually are. Her art is a model of simple, compound forms that result in pieces that are formally direct in the sense that they transparently reveal their making but are also heterogeneous in their active manipulation of the components. The works are considerably greater than the sum of their parts.

Goodman, Vickerilla, and Tenaglia all demonstrate a thorough knowledge of modernism and its penchants for abstraction, but they are not constrained by the past. All three are excellent artists dedicated to visual change. It is significant that stylistic formulas are changing, for the art of these three people feels original, something we sorely are in need of. It is obvious that the artists cannot escape their forebears, but it is equally true that they have committed themselves to a journey going somewhere new. This is highly desirable, especially at a time when lyric abstraction remains a mainstay—to the point where its gestural finesse is lost in imitation. As hard as it seems, it is clear that these three artists remain devoted to exploration—the very quality that originated abstract art. They leave us with the hope that art can continue to renew itself, even in the shadow of extraordinary achievements.

William Horberg: Potraits in Jazz

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William Horberg’s solo show  Portraits in Jazz  opens with an artist’s reception on Friday, October 5th, 6-9pm and a JAZZ JAM from 7-9pm with the Mike DeMicco Trio featuring Lew Scott and Tani Tabbal at Cross Contemporary Art, Saugerties, NY.

Portraits in Jazz is a tribute to the music and personality of jazz musicians. William Horberg’s works on paper captures the spirit and melody of the many artists who have inspired him and built this distinctly American art form. Each study by Horberg is a sensitive meditation on the process, passion and lyricism of the individual musician in numerous small-scale intimate portraits. As a jazz musician, writer, visual artist and film producer, William Horberg succeeds in weaving together not only the history of jazz but its relevance today in contemporary culture.

“William Horberg: Portraits in Jazz ” curated by Meira Blaustein and Jen Dragon opens Fri. October 5th and continues through Sun. October 28th, 2018.


 

 

About William Horberg:
With a life-long career in film, William Horberg has always been a story-teller.  As a producer, Horberg is aware of the interplay of the narrative with all 5 senses. William Horberg not only expresses this story-telling by means of his cinematic work, but as a jazz flautist and ultimately as a jazz lover through these many, small, sensitive mixed media portraits. A memoir by William Horberg My Life in Space: Stories of a Hollywood Outlier about his life and career will be published by WoodstockArts in June, 2019.



About the Mike DeMicco Trio featuring Lew Scott and Tani Tabbal:  Mike DeMicco is a renowned guitarist who has played with Dave Brubeck, The Brubeck Brothers Quartet, Jack DeJohnette, Nick Brignola, Warren Bernhardt, Lee Shaw, Rory Block, James & Livingston Taylor, Professor “Louie” and The Crowmatix, and many others. Assisted by Lew Scott ” The most sought-after bassist in the New York area” and Tani Tabbal, a world-famous drummer, these three will bring to life the spirit and music of William Horberg’s “Portraits in Jazz”. Jazz musicians are welcome to bring their instruments and play along!



About the Curators: 
Meira Blaustein is the co-founder and executive director of the Woodstock Film Festival as well as a noted film directer, cultural curator, writer and speaker who lives and works in Woodstock, NY.
Jen Dragon is the curator/director of Cross Contemporary Art founded 2014 in Saugerties, NY.

 

 

Cross Contemporary Art Hawthorn Exhibition

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Cross Contemporary Art Hawthorn Exhibition

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Opening Reception Thurs. Aug 23, 5-8pm
The Hawthorn

34 Elwyn Lane, Woodstock New York 12498


Cross Contemporary Hawthorn Exhibitionopens with a reception for the artists on Thurs. Aug, 23,  at 1st floor gallery,34 Elwyn Place, Woodstock NY

The artists of this show Gregory AMENOFF, Ford CRULL, Stuart FARMERY, Kenichi HIRATSUKA, William NORTON, David PROVAN and Millicent YOUNG, all work with a definite spatial awareness and a distinctive gestural calligraphy. Gregory Amenoff’s monotypes and Stuart Farmery’s painted wooden scultptures assert bold, natural forms evoking landscape and figurative elements while Ford Crull, William Norton, and Millicent Young define space with a mark-making that balances light and color.  The stone sculptures of Kenichi Hiratsuka and the metalwork of David Provan combine calligraphic elements in their forms while also enjoying glancing references to other objects while retaining their own distinct identities.  These paintings and sculptures, invoke presences that serve as portals into other sensory experiences invoking mystery while still retaining the facts of their forms and process.




Cross Contemporary Art Hawthorn Exhibition is curated by Jen Dragon and opens with a reception and Open House Thurs. Aug, 23, 5-8pm.

About The Hawthorn: The Hawthorn is a unique, fully renovated 10,275 sq. foot building encompassing a large 2 story gallery space with modern catering kitchen as well as a penthouse apartment and 2 smaller apartments, available for sale through Halter Associates Realty. 

Wild World: Ashley Garrett Catherine Howe & Lily Prince

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Wild World: Ashley Garrett, Catherine Howe and Lily Prince

Wild World: Ashley GARRETT, Catherine HOWE and Lily PRINCE  opens with a reception for the artists on Sat. September 8th, 5-8pm at Cross Contemporary Art, Saugerties, NY.

Wild World explores the power of the gestural mark inspired by the natural world. The artists of this show Ashley GARRETT, Catherine HOWE and Lily PRINCE all paint with a distinctive gestural calligraphy. Catherine Howe’s monotypes assert bold, botanically-inspired forms while Lily Prince’s watercolors exhibit a hypnotic, vibrating brushwork that walks the tightrope between light and color. Ashley Garrett’s oil paintings combine calligraphic elements with deep, mysterious spaces conjuring up the ambiguity between “inside” and “outside” the self. United by the bravura of the artistic hand, these paintings, prints and watercolors by these three artists boldly express the subtle strength of nature and the ephemeral power of the brush.

Wild World: Ashley GARRETT, Catherine HOWE and Lily PRINCE  opens Sat. September 8th and continues through Sun. September 30th, 2018.

About Ashley Garrett:

Ashley Garrett graduated from The School of Visual Arts (BFA 2008) and has had many exhibitions nationally including New York City, Brooklyn, Los Angeles, CA, Dallas, TX, West Hartford, CT, Honolulu, HI, and Great Barrington, MA, and internationally in Greece, Vancouver, Copenhagen and Oslo. Her work has been reviewed in the online journals Painting is Dead, Gorky’s Granddaughter and Arts in Bushwick. Extending her painting practice, Garrett has curated exhibitions in New York and Los Angeles that have been that have been featured in Art in America, Hyperallergic and NY Observer. Her writing has included interviews with artists such as Katherine Bernhardt, Ann Craven, Judith Linhares, and Brenda Goodman for the online journals Figure/Ground and Whitehot Magazine discussing their art and studio process.

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 and is represented by Winston Wachter Fine Art in New York, NY.

About Lily Prince:

Lily Prince has her B.F.A. from The Rhode Island School of Design, her M.F.A. from Bard College and attended Skowhegan. Prince has exhibited widely both nationally and internationally. She has been awarded commissions including the New York City Department of Cultural Affairs. She was Artist-in-Residence at historic site Olana and was chosen for Draftsmen’s Congress at The New Museum. She was awarded a residency at the BAU Institute, and returns to plein air draw in Italy. Prince’s work has appeared in the New York Times, New York magazine, The Brooklyn Rail, and New American Paintings. Lily has done the artwork for 2 published books. The Paterson Museum published her drawings The Ten Plagues. Prince has lectured at Yale, Vassar, Cornell, RISD, SVA, and Pratt. Lily is an associate professor at William Paterson University. Prince is represented by Thompson Giroux Gallery in Chatham, NY and Littlejohn Contemporary in New York, NY.

 

David Provan

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David Provan: Proto-Possibilities

August 4-26th, 2018

 

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David Provan
Proto-Possibilities 

Opening Reception Sat. Aug. 11th

Cross Contemporary Art
99 Partition St. Saugerties, New York 12477
on view thru Sept. 2nd, 2018

GALLERY HOURS: Thurs- Mon 12-5pm
     David Provan’s solo show Proto-Possibilities opens August 3 with a reception for the artist on Sat. August 11th, 5-8pm at Cross Contemporary Art, Saugerties, NY and runs thru September 2nd, 2018. Daivd Provan’s work will also be on view at Diamond Mills Hotel balcony overlooking the Esopus Waterfall.
     Proto-Possibilities is a survey of welded metal and ceramic sculpture as well as works on paper by David Provan. This is the first exhibition dedicated to Provan’s drawings and paintings as well as his both small and large-scale sculptures. Proto-Possiblities offers insights to the process of Provan’s welded steel and ceramic sculptures from inception to completion. David Provan explores color and form to create sculptural diagrams of spiritual and metaphysical experience. The chromatic brilliance of the powder-coated surface on steel structures make an unambiguous statement about Presence and the molded ceramic forms in turn create aperatures to alternate spaces. About his own work, David Provan writes: “Through my sculpture I’m trying to make visible & tangible the flow of energy that makes up all entities and events. To this end, I build schematic structures that trace the way elements coalesce into a pattern or identity and then, after a period of time, disperse. They’re the motion of birth and death translated into material form.” 
As a visual poet, David Provan’s artworks reflect both space and being – and their diametric opposites.



David Provan’s solo show  Proto-Possibilities opens Fri. August 3 with a reception for the Artist on Sat. August 11, 5-8pm and continues through Sun. October 2nd, 2018.


David Provan:
 David 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

Millicent Young Installation

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MILLICENT YOUNG

Installation 

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Opening Reception Sat. July 7th

WINDOWS at NEWBERRY

236 Main Street Saugerties, New York 12477
GALLERY HOURS 24/7
Millicent Young’s sculpture is this month’s installation in WINDOWS at NEWBERRY located at 236 Main St, Saugerties, NY opens with a reception for the artist on Sat. July 7th, 5-8pm.
Three sculptures by Millicent Young are featured in the WINDOWS at NEWBERRY, a 24/7 exhibit in the 10 foot high windows facing Main Street in Saugerties NY. Each artwork alternates between awareness and a dream-like state through the everchanging shifts between daylight and nighttime offered by the glass windows. Young‘s sculptures are poems that evolve in response to the time of day: in the strength of the mid-afternoon sun, the artworks seem to disappear but in the evening, the forms re-emerge as their filaments capture and vibrate under the spotlights that illuminate them. Millicent Young’s lines and shapes capture the trembling edges of nature and the layered luminosity of horse hair express a space and being defined by memory and consciousness.
Millicent Young’s Installation in the WINDOWS at NEWBERRY is sponsored by 11 Jane Street Art and Cross Contemporary Art. The exhibition is open 24/7 with a reception for the artist Sat. July 7th 5-8pm.
About Millicent Young:
Born in New York City, Millicent Young received her MFA from James Madison University and two Professional Fellowship Awards from the Virginia Museum of Fine Arts. Exhibiting widely, her work has been recognized by curators and directors from institutions including DIA, Hirshhorn, New Museum, Guggenheim Museum and Whitney Museum. Young’s work received a top award at the 2005 Biennale in Florence, Italy. Her most recent solo show, “Cantos for the Anthropocene”, was at Les Yeux du Monde Gallery in Virginia. Millicent Young currently resides in the Hudson Valley of New York State.
Artist’s website: http://millicentyoung.com/
About Millicent Young in Vasari 21 by Ann Landi: https://vasari21.com/millicent–young/
Interview with Millicent Young by MADKingston.org: http://bit.ly/madkingstonmy
About 11 Jane Street Art:11 Jane Street Art is an artist-owned space that supports the development of new work by recognized performance and installation artists and offers residencies, exhibitions, feedback sessions, teaching opportunities and community participation.
About Cross Contemporary Art: Cross Contemporary Art is a gallery dedicated to showing mid-career and established artists who have a connection to New York City, Hudson Valley and Catskills region. Open Thurs through Mon 12-6, Tues and Wed by appointment or chance. 99 Partition st Saugerties, NY 12477 Phone Gallery Director Jen Dragon 845.247.3122 for more information

photos: Richard Edelman 2018

3: Brenda Goodman, Christina Tenaglia and Marie Vickerilla

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3: Brenda Goodman, Christina Tenaglia and Marie Vickerilla

curated by Eleanor Heartney and Jen Dragon
July 6-29, 2018
Opening Reception for the Artists: Sat. July 7, 5-8pm

 

The “3” of this show are Brenda Goodman, Christina Tenaglia and Marie Vickerilla, artists who work with bold form and deep color. These paintings, or in the case of Tenaglia, painted sculptures, invoke presences and voids that serve as portals into other sensory experiences. Brenda Goodman’s small paintings on paper and larger oil paintings on wood begin with random mark making that through a process of intuitive decision making
coalesce into coherent abstract shapes that evoke figurative and landscape elements. Marie Vickerilla uses determined brushwork to create shapes that defy gravity and assert their weight against their space. The painted sculptures of Christina Tenaglia contain glancing references to other objects while retaining their own distinct identities. All three artists play with open ended narratives but come to very different conclusions. “3: Brenda Goodman, Christina Tenaglia and Marie Vickerilla” is curated by Eleanor Heartney and Jen Dragon and runs from July 6- July 29, 2018 with an opening reception Sat. July 7, 5-8pm.
About Brenda Goodman: Originally from Detroit, MI, Brenda Goodman has been the recipient of many awards from New York Foundation of the Arts, a Visual Arts Fellowship from the National Endowments for the Arts, an American Academy Arts and Letters Award and in 2017, an honorary doctorate from her Alma Mater, the College of Creative Studies. Ms. Goodman will be having a solo show at Sikkema Jenkins in January, 2019.
About Christina Tenaglia: Currently on the faculty of Vassar College, Christina Tenaglia is a graduate of both Vassar (BFA 1997) and Yale University School of Art (MFA 2005). Ms. Tenaglia was the recipient of a Purchase Award from the 2018 Invitational Exhibition of Visual Arts at the American Academy of Arts and Letters.
About Marie Vickerilla: Marie Vickerilla is a graduate of the Milton Avery Graduate School of the Arts at Bard College with a Masters in Fine Art and a Bachelor of Fine Arts from California College of Arts & Crafts, Oakland. Ms. Vickerilla has received a grant from the New York State Council of the Arts and Honorable Mention for the National 93 Small Works Exhibition.