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All posts tagged Hermine Ford
Norte Maar is pleased to present a major exhibition surveying new work in pattern, repetition and motif titled “between a place and candy: new works in pattern + repetition + motif.” The exhibition will be held at 1285 Avenue of the Americas Art Gallery (btwn51st and 52nd Street, NYC) and will open with a public reception on Monday, March 16 from 6-8pm. The show will continue through June 12 with gallery hours Monday-Friday, 8am-6pm. This exhibition continues Norte Maar’s mission of re-presenting and supporting the advancement of innovative and transgressive work of both emerging, mid-career and historic artists.
Due to the overwhelming public response to this exhibition, Norte Maar in collaboration with 1285 Avenue of the Americas Gallery, is pleased to announce the extension of this historic show, To be a Lady: forty-five women in the arts, through March 22, 2013.
1285 Avenue of the Americas Art Gallery
1285 Avenue of the Americas (btwn 51st+52nd Str), New York
Directions: B/D/F/M to 47-50 Strs/Rockefeller Ctr, B/D/E to 7th Ave, 1 to 50th Str
Hours / Admission: Mon-Fri, 8am-6pm / Free
NEW YORK CITY, September 2012–Norte Maar and the 1285 Avenue of the Americas Art Gallery announce the exhibition To be a Lady: Forty-Five Women in the Arts, on view at the 1285 Avenue of the Americas Art Gallery from September 24, 2012 through January 18, 2013. A reception, open to the public, will be held on Monday, September 24 from 6-8pm.
Curator Jason Andrew brings together forty-five artists born over the last century who happen to be women. Striking examples by historic protagonists, Alma Thomas, Louise Nevelson, Alice Neel, Lenore Tawney, Louise Bourgeois and Grace Hartigan set the stage for an exhibition designed to challenge and reshape the meaning of the word lady.
Unique Offering of Norte Maar
by Amy Colgan-Niemeyer
North Countryman, Feb 10, 2007
Plattsburgh – Norte Maar is preparing to bring top visual and performing artists and instructors to the North Country again this year.
Two Mediums, One World
A variety of events are planned, beginning this month with an exhibition of Hermine Ford’s paintings and John Newman’s sculptures, presented by Plattsburgh State Art Museum in collaboration with Norte Maar. The exhibition is called “Two Mediums, One World.” Text by Raphael Rubinstein, senior editor at Art in America, will accompany the works.
Ford, who teaches at Maryland Institute College of Art in Baltimore, combines textiles and mosaics with painting and drawing which is inspired by the natural world–landscapes, bends in rivers, shapes of stones. John Newman is a sculptor of metaphors. He mixes metal and stone, paper and glass with advanced technology and primal artifacts.
“These are two very different artists,” said Jason Andrew, director of Norte Maar. “Both are probably two of the most preeminent artists that are alive and working in New York City today.”
The exhibit will include about ten sculptures by Newman and a number of pieces by Ford including large, shaped canvasses, works on paper and charcoal drawings. In addition, a wall installation that Ford created specifically for Plattsburgh State Art Museum will include some of her smaller paper pieces “floating off the wall.”
“It’s really exceptional to be able to bring their work up to Plattsburgh,” Andrew said. “and let all of the young artists that are there, and the community, experience something that is quite different.”
Legends in Ballet
“Margot & Rudy,” will open in July, featuring photographs of ballet legends Margot Fonteyn and Rudolf Nureyev.
Fonteyn and Nureyev met in 1961, shortly after the latter defected from the former Soviet Union. Their first performance together was at the Royal Opera House, Covent Garden in “Giselle,” in Febuary 1962.
“Their performance together brought the house down,” Andrew Said. “and from there on they became the most famous partners in ballet history.”
They were a team until Fonteyn’s retirement in the late 1970s.
Photographs of the dancers before they met, of that first performance together, and of their subsequent years as dance partners, as well as books and other information will ve on display.
One of three performing arts experience offered by Norte Maar is The Summer Conservatory. In its fourth year, this summer dance programme offers aspiring dancers the chance to study with top instructors.
To accommodate the schedules of the many different dancers Andrew is trying to bring in, this year’s Conservatory has been pushed ahead from the last two weeks in July to the first two weeks in August.
Julia Gleich is returning with her Gleich Dances Contemporary Ballet company from London. Andrew noted that they are working on bringing up a specialist in one of three modern dance techniques named after teacher- choreographer, Merce Cunningham, and dancer-choreographers, Jose Limon and Martha Graham.
A special ballet, choreographed by Gleich, based on the history of famous modern painter, Fernand Laeger is planned as well. Leger stopped in Rouses Point on his way to an opening in Montreal in 1943 and fell in love with it. He spent three summers there. Every dancer who trains at the Conservatory will be dancing in this new ballet.
“There’s a lot of opportunities [for dancers] to train, but our faculties are really to generate performers,” Andrew said.
“To help them learn in class and to train and then be able to perform.”
Also on tap is Off-Set 2007 which will feature various dance installations taking place around the North Country where people would not normally see a dance. Last year, they presented a ballet in the parking lot of Platsburgh’s Wal-Mart. This year, dance and theatrical companies will perform at locations specified on a map.
“It’ll be spread out over days and times, so it’ll be kind of a treasure hunt of the North Country,” Andrew said.
On the night of Fete de Danse ,as people arrive for the event, the Off-Set companies will be stationed in and around the Civic Center, participating in the free program.
The Fete de Danse 2007
“We’re shooting to try and have one very strict ballet company, and contemporary ballet company, tap,” Andrew said.
“and we’re looking also into a dance group that does Capoeira, which is the Brazilian fighting dance.”
Fete de Danse is present by Norte Maar in affiliation with the Rouses Point-Champlain Historical Society. This year they received a sizable grant from New York State Council on the Arts (NYSCA) which will help fund the dance companies and some event itself. Each year some historical influence is included in the program, such as the past piece entitled, “D&H.”
“They are great people, so passionate about teh area where they live.”
“It has been a wonderful experience,” added Geri Favreau, Historical Society presedent.
“The Historical Society looks forward to working with Jason and making history from many, many years to come.”
NYC artists to present paintings, sculpture at Plattsburgh State venue
by Robin Caudell
Press-Republican, Out & About, February 8, 2007
PLATTSBURGH – An exhibition of the contemporary works of painter Hermine Ford and sculptor John Newman opens Saturday at the Plattsburgh State Art Museum.
The New York City artists were brought to the attention of Edward Broehl, museum director, by Jaons Andrew, exhibition curator and co-founder of Norte Maar.
“Ed is always interested in and the museum dedicated to exhibiting the best, unique and alive” Andrew said. “He’s drawn to both artists, who use all kinds of imagery across the board.”
It was fun for Andrew to put the show together but difficult because of the artists’ very different languages.
“There’s a lot of air between them,” Andrew said. “You can look and compare at the same time. I think color is really an important part of the show.”
For the show’s catalogue, Andrew asked Raphael Rubinstein, senior editor at Art in America, to write an essay about the artists. In “Two Mediums, One World” Rubinstein writes:
“Although on is a painter and the other a sculptor, Hermine Ford and John Newman share a great deal of artistic territory.”
Influenced by Africa and ancient Rome, Ford paints on thin linen-covered plywood. Her fragmental shapes appear as magnified cloth assemblages or topographical mosaics.
About Ford’s work, Rubinstein writes:
“In fact, they are closely based on the designs of Mbuti pygmy women of the Ituri Forest in Zaire, who are known for their bark-cloth paintings and drawings. The colors Ford uses echo the plant-based mediums employed by the Mbuti. Also pygmy-derived is another set of subsections in which dots and lines create net-like patterns of three-, four- and five-sided shapes, some of which Ford fills in with solid colors.”
Newman’s travels in Europe, Asia and Africa influence his use of disparate materials and techniques in his sculptures. About him, Rubinstein writes:
“Like Baroque sculptors and painters, Newman is constantly looking for ways to torque his forms. Curling in upon themselves or stretching from one part of a sculpture to another, his biomorphic elements twist with a sensual, playful sinuosity.”
In arranging the show, Andrew spontaneously added two fantastic charcoal drawings by Ford placed near Newman’s “crushed and weighted-down turn.” A sculpted stone and a wad of paper balance at the termini of a black-and-mettallic twist.
“It’s amazing,” Andrew said. “The stone at the bottom, John chose. He had these incredible Italian carvers carve that drapery into it. His wife is a fantastic writer. That crumpled piece of paper is reminiscent of a writer’s block. He chose to put that on top. The sculpture combines this cutting edge of technology and a very traditional form of carving in stone.”
Both artists leap adroitly from the primitive to the now.
“The affirmation by both Ford and Newman of the hybrid character of culture is, simultaneously, a rejection of the fictions of purity and isolation. Their cultural inclusiveness is also of a piece with how they oganize their works: as a self-generating, radically disparate, joyously non-monolithic experiments in sheer form.”
Andrew loved the idea of bringing the two New Yorkers ot a now-where-are-we-going rural environment.
“Everyone comes to New York City to see something of this caliber,” he said. “We can always use more of it to analyze and see what contemporary art is about today. To stretch our minds.”
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