Aaron Galleries

 

 

Reserve (alternate title A Song Without Words) Cameron Booth 1958

Aaron Galleries                                        자유로운  표현을 추구하는 예술운동은 참으로 유구한 것일 것이다  우리는 이미 구석기 동굴벽화나 원시비너스상을 통해 그런 사실을 느낄 수 있다  문명의 발전 이란 그같은 표현욕구의 내용과 기술의 발전이라고 볼 수 있을 것이다 그러나 회 화는 다른  여러 장르의 표현의 양식과 함께  이중성을 지닌다  바로 표현의 분야 와 탐구의 분야를 함께 보유하여 거느린다는 것이다  한편의 시가 단순한 표현에 그치는 것이 아니며 많은 경우 그 시인의 삶의 탐구 과정이며 그 결과물이기도하 다  학술논문이라  하더라도 그와같은 속성에서는 변함이 없다고 생각한다 예컨 대 기호학의 창시자 들의  글이나 인류학자들의 글이 어려운난해성을 띤 경우가 그것이다                                                                                                                                                                                           -하이안자-                           Ciel Beauford Delaney 1961                   UBL (Ultramarine Blue Light) Howard Smith  2002                       Indecidability of the Sign: Red Yellow Blue Marjorie Welish 2006                   Reserve (alternate title A Song Without Words) Cameron Booth 1958                       Monument to the Rising Sun Werner Drewes 1982                   Catskill Creek Bridges Werner Drewes 1946-1949           Untitled - Dimensional Array Emil James Bisttram  1941                 Composition in Blue and Red (a.k.a. Composition in Blue) Robert Breer 1955                       Untitled - Floating Abstraction Eve Clendenin  1949                   Aquarelle - Passepartout Eve Clendenin  1951                   Painting No. 3 John Grillo 1953                       Untitled John Grillo 1952                     Untitled / blockprint Clover Vail 2005                     Lower Manhattan, East River - Domino Sugar Joseph Delaney 1904-1991                   Model with Hat Joseph Delaney 1904-1991                       Red Core Michael Loew 1960                   Untitled Rolph Scarlett   / circa 1930-1939                       Untitled - [Abstract] Rolph Scarlett   / circa 1930-1939                         Smelt Fishermen, Chicago Breakwater Herman Menzel  / circa 1930-1939                         Harvest From My Garden Herman Menzel  / circa 1950-1959                         Muddy Road Joseph Meert (1905-1990)                   untitled paris  Bob Thompson 1961           untitled paris  Bob Thompson 1961           Untitled Peter Bodnar 2001     Marjorie Welish  2006   Biography 1978 MacDowell Colony Residency and Fellowship 1987 MacDowell Colony Residency and Fellowship 1990 Triangle Artists Workshop, Pine Plains, New York 1993 Elizabeth Foundation for the Arts 1995 International Studio Program, New York 1997 Trust for Mutual Understanding: International Studio Program and The Artists’ Museum, Lodz, Poland 1997 Pollock-Krasner Foundation 2002 - 1998 Pratt Faculty Development Fund, Pratt Institute 2001 Finalist for the Lenore Marshall Prize, Academy of American Poets 2003 Adolph and Esther Gottlieb Foundation Grant 2006 College for Creative Studies at 100: Woodward Lecture Alumni, Detroit 2006 - 2011 Fulbright Senior Specialist Roster - grantee, Spring   Werner Drewes     (American, 1899-1985) Biography Purchase Prize 25th Anniv. National Fine Prints Competition, AAA, NYC Death Reston, VA Founding member of American Abstract Artists Faculty Member School of Fine Arts, Washington Univ., St. Louis, MO Worked with Max Beckmann Washington University, St. Louis, MO Education w/Klee, Itten & Schlemmer Bauhaus, Weimar, Germany Left Germany & Emigrated to USA NYC Joined American Artists Congress Birth Canig, Germany Education Technische Hochschule, Berlin-Charlottenburg, Germany Education Stuttgart School of Arts and Crafts, Stuttgart, Germany       Emil James Bisttram     (American, 1895-1976) Biography Emil Bisttram was born in Hungary, near the Romanian border, in 1895. When he was 11 years old, his family immigrated to New York City. Emil grew up in the tenement buildings that had become the destination for so many Eastern European immigrant families. He was a talented artist, and after a few years began his schooling at the National Academy of Art and Design, then Cooper Union, Parsons, and The Art Student’s League. Most of his studies were completed through night courses, as he was working as a commercial artist to support himself. His eagerness to study would translate to a love of and great skill for teaching. He began teaching soon after completing school, first at the New York School of Fine and Applied Arts, and then at the Master Institute of the Roerich Museum. Bisttram first visited Taos during the summer of 1930. He went initially to escape the hardship of life in New York following the stock market crash. His first visit, however, was nearly his last. While enthralled by the beauty of New Mexico, Bisttram was endlessly frustrated by his first attempts at painting there: "Whenever I tried to paint what was before me I was frustrated by the grandeur of the scenery and the limitless space. Above all a strange, almost mystic quality of light." Perhaps frustrated by what may be perceived as his own limitations as an artist, Bisttram returned to New York. If indeed he was frustrated at that time, it couldn’t have lasted long, as the very next year he won a Guggenheim Fellowship to study mural painting. The fellowship enabled Bisttram to travel to Mexico where he studied mural painting with the world famous muralist Diego Rivera. Numerous mural commissions were to follow throughout his career, including murals for the Department of Justice in Washington D.C., The Taos County Courthouse, New Mexico, and the Federal Courthouse in Roswell, New Mexico. After his time with Rivera was through, Bisttram returned immediately to Taos, and that same year founded the Taos School of Art, of which he would remain the director for the rest of his life. Bisttram came to be much admired as a teacher. He was an extremely articulate individual, and was as skilled at explaining concepts of composition, drawing and painting as he was at applying those concepts to his own paintings. The school was very well attended, particularly during the summer months. Further demonstrating his skills as an administrator, the following year Bisttram started the first commercial art gallery in Taos, the Heptagon Gallery. Bisttram first came to Taos as a representational painter. His canvases show stylized renderings of Native American dancers, portraits of natives and Mexicans, as well as depictions of local architecture. However, he began to experiment with non-objective (i.e.. Abstract) forms in his paintings. He became heavily influence by the work and philosophy of the painter Wassily Kandinsky. Indeed, in many of Bisttram's canvases, the influence of the Russian is evident in the bright colors, and abstract forms that he began to employ. In 1938 Bisttram, along with Raymond Johnson and several other painters, founded the Transcendental Painting Group in Santa Fe, New Mexico. The aim of the group was to work to bring painting beyond the appearance of the physical world. Work of this type had begun in Europe at least two decades previously, but this was something new to America. Despite the stated goal, Bisttram often maintained elements that were at least semi-representational in his canvases. Bisttram continued to be extremely active in the artistic growth of New Mexico for the rest of his life. In 1952 he co-founded the Taos Art Association, and in ’59 won the Grand Prize for painting at the New Mexico State Fair. Also in 1959, a retrospective of his work was held at the Harwood Art Museum in Taos. As a final honor, and tribute to one who done so much for the artistic community and the identity of New Mexico as a whole, in 1975 April 7th was declared “Emil Bisttram Day,” a New Mexico state holiday. The next year, 1976, Emil Bisttram died at the age of 81.