Exhibitions

AUTUMN 2016

NOVEMBER 4 - DECEMBER 4, 2016

Gurari Collections is pleased to present an exhibition of new work by Leon Steinmetz, entitled From TOKYO– It’s a beautiful day in {PARIS NEW YORK LONDON}.

Derived from street scenes of Paris, New York and London, Mitsushige Nishiwaki’s spirited etchings are characterized by their seemingly naive, innocent, daydream-like sincerity. His etching technique is textured and bold, yet the art has a delicate and whimsical facility about them. Populated by his imagined personalities, the buildings and streetscapes he depicts are familiar to our experiences and senses. Each etching is a narrative that conjures up a singular place where we have been before.

Roofscapes become outward expressions of the lives and activities from within. In some of the artwork, scale relationships are distorted, creating juxtaposing in the composition. This magnifies the story that is being told.
Nishiwaki turns urban fabric into a living entity that always engages and reminds us of the familiar.

Beginning in 2009, and self taught in intaglio, Mitsushige Nishiwaki’s etchings are on copper, and for highlighted color, on plastic. He uses German Hahnemuhle paper and Charbonnel etching ink. His larger works are made up of a series of abutting small print plate sizes, providing a visible armature for the artwork.

Nishiwaki is a graduate of Hosei University in Tokyo and received a graduate degree in graphic design while studying in Arizona. He works as an artist and graphic designer in Tokyo. His artwork has been exhibited in Japan, France, England and the United States.

SPRING 2016

June 18 - July 31, 2016

Gurari Collections is pleased to present an exhibition of new work by Leon Steinmetz, entitled ALL THE WORLD’S A STAGE…Commedia dell’Arte & Other Theater. In this exhibition Leon Steinmetz brings to life his interpretations of theater as it presents and reveals humanity. His characters, mostly from Commedia dell’Arte theatrical movement of the 16th – 18th centuries, exaggerate human emotions.

Commedia dell”Arte performances were staged outdoors in and around the Venneto region of Italy. Typified by the use of masks to heighten the dramatic effect, performances were improvised by highly trained professional actors that perfected specific characters - surreptitious servants, devious and foolish old men, the braggadocio politicians and the military, as well as others that came under theater’s sharp scrutiny.

The performances were based upon the universal themes of love, jealousy, sex and old age. As one views Steinmetz’ work, these themes become readily apparent by character interactions, and artwork titles, presented as whimsical dialogues. There is a spirited liveliness in Steinmetz’ compositions. His cast of players is eccentric and it exhibits Steinmetz’ trademark – intertwining comic and tragic essences of the human condition.

Leon Steinmetz is scheduled to have his second solo exhibition at the renowned Pushkin State Museum of Fine Arts in Moscow, Russia. His work is in the permanent collections of leading museums: the British Museum in London; the Metropolitan Museum of Art in New York; the Albertina in Vienna; the Dresden State Art Gallery in Dresden; the Museum of Fine Arts in Boston, the Yale University Art Gallery in New Haven; the Philadelphia Museum of Art, and the Pushkin State Museum of Fine Arts among others.
This is Leon Steinmetz’ fifth solo exhibit at Gurari Collections. 
We invite you to see ALL THE WORLD’S A STAGE… Commedia dell’Arte & Other Theater, an exhibition of his new work.

Ongoing

Gurari Collections is pleased to announce its collaboration with Keith Funston of Funston Antiques to bring to the gallery, beginning June 3rd, 2016, an ongoing exhibit of cased historical artifacts and objects that create curiosity cabinets, cabinets of wonder, or Wunderkammern. The artifacts for sale will be frequently refreshed while the exhibit is open from June to September. During the exhibit Gurari Collections will continue to show single artist exhibitions and work from the gallery's inventory.

Beginning in the late 16th century, continuing through the Renaissance and well into the 19th century, European nobility humanist scholars, and citizen scientists were excited by what the ages of exploration and enlightenment revealed. They collected artifacts from natural history, including exotic animal and plant life, tribal and ancient antiquities, and items illustrating the history of medicine and science, etc. Whole rooms were converted into repositories of far-flung collecting-- whatever pleased the owner-collector. All aspects of discovery and wonder were in play, the more impactful the better. To heighten the drama of the presentation, the artifacts were often juxtaposed with dissimilar objects. These cabinets of curiosities expressed the worldliness and power of their owners. They were world history and theater all in one.

Keith Funston has dedicated the last 20 years to building Wunderkammern, where the artifacts are for sale. He is authoring, a soon to be published, book on the subject (link to Book). This four month exhibition will present a slice of these known and unknown treasures. We want to inspire visitors to build their own cabinets, to participate in the excitement of collecting, as well as to celebrate history's enormous diversity.

History's connections are rapidly disappearing. Each of these objects has a story, and it is contingent upon us, and our fascination with discovery, to share these stories and keep them alive.


LOTTA OLSSON - HERBARIUM - MERGING THE REAL & IMAGINED, work-on-paper, May 6 - June 12, 2016.

Swedish artist Lotta Olsson’s second solo exhibition: Herbarium – Merging the Real & Imagined. A repository of preserved and dried plant specimens, self-created herbarium’s have been a constant source of inspiration for Lotta Olsson since childhood. These investigations into nature’s surroundings inform Olsson’s artwork and illustrations. Whether a simple leaf’s delicacy and intricacies, or the silhouette of trees in winter, these influences offer a whole host of useful parts that Olsson has equipped her artistic tool-kit with. Taking her cues from these impressions, shapes and visual details, Lotta Olsson then creates her illustrated fantasy trees and flora.

After many years of collecting visual images of nature’s inventory, she has a vast resource in her self-described “digital herbarium”. Of no less importance though, are the sights, sounds, and memories from treks and travel that blend with her herbarium. Altogether, these real and imagined imprints coalesce into delicate and bold imaginative works of art.

Having grown up in southern Sweden, surrounded by forest and nature, Olsson is intimate with the natural habitat. Being a student and observer of the forest, she explores the history and writings of old sayings as they pertain to trees and the natural world.

Lotta Olsson has an undergraduate degree in Graphic Design from Göteborg Universitet, and an MFA in Graphic Design and Illustration from The University of Stockholm’s KONSTFACK University College of Arts, Crafts and Design. Her artwork has been exhibited in Sweden, Germany, Italy, South Korea, and at the Affordable Art Fair in London. This is her second exhibition in the United States.


APRIL

SCOTT TULAY- SPACE IS THE PLACE, work-on-paper, April1 - May 1, 2016. Opening reception, Friday, April 1th, 6-9pm.

Space, whether in motion, or as a fixed point, energizes Scott Tulay’s drawing explorations. Formulating his point of view from that of an architect, and influenced by his degree in art history, Tulay breaks with convention in his spatially defined art. He is an artist-architect who, by day, has to apply rigorous standards in the built world, then, conversely, he creates imagined otherworldly works of art.

The compositional use of perspective, light-on-surface, and spatial layering, all enhance the sensation of accelerated spatial motion that is found in Tulay's work. This is a painter's knowledge, as it is the architect's, whose skillful use of these tools are integral to creating perception in the built world. Principally using the palette of black, white and gray, he draws and paints atmospheric compositions that offer uncertain contextual references. This unpredictability generates an animation between the viewer and his drawings.

Scott Tulay's creative intersections are his canvases. There is an abandoned freedom to his drawings that envigorates his art. He works perception by the blurring of the real and imagined combined.
Tulay’s drawings and paintings have been written about in international and national fine art journals. His artwork is in institutional, private, and museum collections. In 2015, he participated in an exhibition entitled American Perspectives, a group show by internationally acclaimed architects, at the Tchoban Foundation of Architectural Drawing, Berlin, Germany. And, in the New England region, his artwork was shown in the Leaving Our Mark exhibition, at the Springfield D’Amour Museum of Fine Arts, and in the Drawing On, In Out exhibition, at the Brattleboro Museum of Art Center.



FALL 2015

NOVEMBER

WENDY ARTIN - From The Roman Studio, watercolor paintings, November 6 through December 6, 2015. Opening reception, Friday, November 6th, 6-9pm.

Gurari Collections is pleased to present an array of beautiful new watercolors from artist Wendy Artin’s light-filled studio in Rome. From intimate portrayals of paintbrushes awash with color to monochromatic ink-like paintings of the figure and classical statuary, the delicate and powerful images of From the Roman Studio waver and melt between abstract mark-making and impressionistic realism.

Reflecting pleasure and nostalgia, Artin’s paintbrush watercolors are a tribute to years of projects of growing a family in Rome. Each spot of paint on the handle of a well-worn brush evokes for the artist a joyous moment: the starry blue sky surrounding the children’s beds, the gigantic green cardboard Christmas tree, the brilliant white Roman sunlight on the walls… The images are personal relics of the sort that are found in all our tool closets; they are a simple and profound appreciation of the present as it reveals all of the traces of the past. Age, for Artin, is to be relished.

Wendy Artin’s delicious figure paintings are about immediacy, universality, reality. We can feel the poses of her expressive models: we are drawn into the language of the body, into the space of the paper, into the light as it becomes flesh and contour. Artin’s mark-making captures the crackling of light that shapes a physical body part or gesture, or becomes animate by its definable yet dissolving reality. By observing and painting only the essentials, Artin compels us, as the viewers, to engage with what is not painted, and to visually complete the contour of a shoulder, a back, an arm. Each painting captures and sustains the “magical” moment when illusion is created.

The ancient classical statues of Artin’s paintings are young and alive, powerful and stony, yet tactile and delicate. Each anatomical part, honed to precision by the sculptor’s hand, yields to Artin’s vision to free the subject in her painting: Faces take on expression, bodies become animate, even stone that has become indefinable by age or wear or vandalism has its textures rendered by light in such a way as to reinforce the sense of life and spirit within.
Wendy Artin is a master of watercolor. Her paintings seem to pull the image out of the paper itself, to coax the materials she uses into perfect puddles of paint. As loose as miniature abstract-expressionistic paintings, her watercolors are also so precise as to sometimes appear photographic at first glance. Above and beyond her technical expertise, Artin’s true genius is the way she is able to open our eyes to the heightened beauty in all that she sees.

Artistic Advisor at the American Academy in Rome, Wendy Artin completed her undergraduate studies in French Literature and Painting at the University of Pennsylvania and her Masters of Fine Art at the Museum School of the Boston Museum of Fine Arts. In 2015 she has a solo exhibition, entitled Rocks, Paper, Memory, at the Kelsey Museum of Archaeology, University of Michigan, Ann Arbor. Her paintings are collected by Steve Martin, Eric Fischl, April Gornik, Princess Caroline of Monaco, Isabelle Adjani, Howard Stern, John Guare, Adele Chatfield-Taylor, Pierre Passebon, Jacques Grange. She has exhibited in New York, Boston, Rome, Milan and Paris. Her work has been featured in Pratique Des Arts, American Artist, The New York Times, Vanity Fair, Gourmet, Elle Decoration, Cote Sud, French Vogue, Elle, Carnet, and the Boston Globe, among other publications. She has been featured on BRAVO television's Arts & Minds.

We invite you to visit From the Roman Studio, an exhibition of recent watercolor paintings by Wendy Artin and her tenth solo exhibition at Gurari Collections.




OCTOBER

FOUND WIT, by JOHN SIDELI, as found object sculpture assemblages, October 2 - 31, 2015. Opening reception, Friday, October 2nd, 6-9pm.

An exhibition by artist John Sideli, entitled FOUND WIT, being of mixed media sculpture assemblages and constructions. Whimsy and irony, and the critique of cultural norms inhabit Sideli’s sculptures. He creates by using only “as found” objects which he does not rework. Respecting each objects distinctiveness and purpose, Sideli finds ingenious ways to combine elements giving the composition a new personality.



The naming or title of each artwork offers us these new identities in Sideli’s sculptures. Sometimes names of compositions remain unconscious until completion, or, they are intentional from the outset induced by a single material element. Sideli’s wit finds ironic universalities from everyday objects. Until his vision brings the clues together, the material elements remain common and are unapparent. His alchemic process can take years for his constructions to be arrived at. The tension and compatibility of each object’s relationship to its’ counterpart is revealed by the tinkerer’s process.


For 45 years John Sideli has been contributing his inventive constructions to an artistic lineage that has been explored by Marcel Duchamp’s readymades, Varjun Boghasian’s collaged assemblages from dream and reality, as well as the artwork of Robert Rauschenberg and Joseph Cornell. Arriving in 1968 as caretaker to Alexander Calder’s homestead in Roxbury, Connecticut, Sideli availed himself of Calder’s studio to begin investigating his artistic approach. Influenced by Calder’s use of found metals and scrap parts, which resulted in kinetic and whimsical outcomes, Sideli began his use of “as found everyday objects” as a narrative form of expression.

So we have, as the audience to these assemblages, as found mixed material sculptures - Earth Man Homo Sapiens, Elephant Monument, Protect The Innocent and Day’s Work, being the newly revealed identities of the artwork accompanying this invitation.


John Sideli has been an artist and folk art antiques dealer for over four decades. His work has been shown in London, New York, and throughout the United States. He works and lives in Wiscasset, Maine.


SPRING 2015

MAY

VIVID VEGETATION, by VICO FABBRIS, Paintings, watercolor and work on paper, May 1 - 31, 2015. Opening reception, Friday, May 1st, 6-9pm.

Gurari Collections is pleased to present an exhibition of watercolor paintings and work-on-paper by the artist Vico Fabbris. Entitled, VIVID VEGETATION, the exhibition expands upon the artist's exploration of nature's vegetation as an imagined world. Culled from his familiarity with plant and flower species, Vico has synthesized imagination and reality in these works of art. He envisions a world of the slightly surrealistic, complete with fictitious latin names or a genus story as part of the painting. He is especially attuned to the loss of nature and the fragility of species. Vico replaces the lost habitat with the real and imagined combined.

In this new exhibition he pushes his painting technique in new directions. Loose and expressive, his work proposes plants and flowers with a scientific level of detail, yet his creations have an enigmatic flair that presupposes believability. Vico’s natural world seems familiar yet it clearly is not.

As a result, he delights the eye by creating the satirical and absurd as well as the "almost real". Whether engaging an imagined context, by a supporting story, or alone in mid-air suspension, Vico Fabbris' artwork is vivd, exuberant, and a celebration of the inventive mind.

The recipient of two Massachusetts Cultural Council Awards in Painting, Fabbris' work has recently been exhibited in Second Nature at the Provincetown Art Association and Museum. In the permanent collection of the DeCordova Museum, as well as the Museo Pedrotti-Cantoni, his artwork has been recognized in institutional, corporate and private collections. Written about nationally and locally, Mr. Fabbris continues as a Senior Lecturer in drawing and painting at the New England School of Art and Design, Suffolk University.


FALL 2014

MYTH - MUSINGS & CONTEMPLATIONS, by Leon Steinmetz, New WORK, November 6 - December 7, 2014. Opening reception, Thursday, November 6th, 6-9pm.
FALL 2014

MYTH - MUSINGS & CONTEMPLATIONS, of new work by Leon Steinmetz. Throughout history, myth – the collective consciousness of people - is kept alive by word-of-mouth, music and the visual image. Myths are stories about relationships, divine or otherwise, that contemplate human condition. Myth, as story, can be thought of as theatre, and Steinmetz’s characters are filled with emotions.

The Judgement of Paris – the decision of a handsome young shepherd to proclaim Aphrodite, the Goddess of Love, more beautiful than her rivals, the Goddesses Athena and Hera – has fascinated artists, poets, and composers for centuries. In his new series, Steinmetz presents this dreamy, hazy event from the perspective of the 21st century artist. Dovetailed to that, is a triptych, called Artist Contemplating Vanity. After all, it was Goddesses’ vanity that led to the Trojan War, immortalized in Homer’s epic.

In his series based upon classical Greek Vases, the artist presents a modern interpretation of storytelling as a painted surface. His vases are cracked, decayed and cryptic, so that the discovery of the new seems to be literally retold through the ancient. What might at first to appear blurred, suggestions of hectic and contemporary life, with investigation reveals an interplay between the ancient and the modern.

Steinmetz’s series of Royalty playing cards, in pen and ink as well as in color, combines playfulness with the grotesque. His royals are either exuberant or in decay representing “memento mori” played out in card games.

This exhibition is a continuation of Leon Steinmetz’s contemplations on ancient and contemporary, tragic and comic, timeless and fleeting.

Steinmetz’ artwork are in the permanent collections of the world leading museums: the British Museum in London; the Metropolitan Museum of Art in New York; the Albertina in Vienna; the State Pushkin Museum of Fine Arts in Moscow; the State Dresden Art Gallery in Dresden; the Yale University Art Gallery in New Heaven; the Philadelphia Museum of Fine Arts, and the Museum of Fine Arts in Boston among them. His latest solo museum exhibit was at the State Pushkin Museum of Fine Arts in Moscow, December 2009--January 2010.

This is his fourth solo exhibit at Gurari Collections.

SPRING 2014

JUNE - JULY

LOTTAS TREES, by Lotta Olsson, illustrated work-on-paper, June 6 - July 27, 2014. Opening reception , Friday, June 6th, 6-9pm.

Gurari Collections is pleased to present an exhibition, entitled LOTTAS TREES, of illustrated work-on-paper by Swedish artist Lotta Olsson. Raised in the south of Sweden, surrounded by forest and nature in a village near a National Park, and being the daughter of a forest ranger, Lotta Olsson has a proclivity toward the sights, sounds, and touch of the natural habitat. Trees, as well as flora and fauna, are her favored forms of representation. Diligently collecting and cataloging nature’s inventory, she has assembled a detailed digital herbarium of leaves, branches, roots, and flowers, which become component elements in her compositions. Merging illustration with these images allows for imagination to participate in the dialogue of parts. The real, yet imagined, are one and the same in her work.

As sources for inspiration, Lotta Olsson’s Interest in the history of old sayings, and the writings and teachings of an old wise forest ranger, Gunnar Asplund, engages her with more connections to the natural world. Equally, a day out in the woods, finding a loose berry branch or leaf, provides a wealth of possibility for her imagination.

Lotta Olsson has an undergraduate degree in Graphic Design from Göteborg Universitet, and an MFA in Graphic Design and illustration from KONSTFACK University College of Arts, Crafts and Design, Stockholm. Her artwork has been exhibited in Sweden and Italy, at the Affordable Art Fair in London, and now is being introduced to the United States by Gurari Collections.


AUTUMN 2013

OCTOBER

the drawing repeated in the gravel garden path, by Mollie Goldstrom Mollie Goldstrom presents an exhibition featuring works in intaglio, lithography, and pen with ink. By borrowing specific instances in human and natural history, and themes from science, literature, and myth, Goldstrom strives to reproduce mutable actualities as narrative etchings and drawings. She depicts alternate realities built by human error and misunderstanding of the natural world and ecological systems.

The formal garden appears in Goldstrom’s work as a recurring theme and backdrop. With its many constraints, it presents an orderly vision of a world in which every element is understood and arranged according to rules of geometry, optics, and perspective. As a microcosm of a world that is full of contradiction and chaos, the garden merely holds a mirror to human yearning, a futile striving for impossible perfection.

In her featured series of eight hand-colored intaglios titled If I miss, I miss but a little she uses as a primary text 17th century polymath Charles Butler’s The Feminine Monarchie, a practical treatise on beekeeping that also contains an eccentric transliteration of tone pitches produced by bees into a four-part madrigal. Goldstrom finds relevance in Butler’s projection of a very human system, (musical composition) onto something innately non-human, (the buzzing of bees) as a means of attempting to understand and translate it. Butler’s musings are made poignant by their juxtaposition with contemporary references to Colony Collapse Disorder, the cause of the honeybee’s recent rapid decline.

Goldstrom weaves complex, overlapping poignant issues into a storyline that appears approachable because the visual references and symbols are common to us. When brought together into one of her etchings, a story unfolds that has its’ immediacy, yet the inferences are so much more.

Mollie Goldstrom received an MFA in Printmaking from the University of Iowa in 2013, and a BFA from the Maryland Institute College of Art in 2008. She completed a residency at AS220 in Providence Rhode Island in 2012, the Rocky Neck Art Colony in Gloucester, MA, in 2013, and will be an AIR at the Bemis Center for Contemporary Arts in Omaha, NE in winter, 2014. This is Goldstrom’s second solo exhibition at Gurari Collections. She is currently based in Iowa City, IA.

NOVEMBER

STONE FROM DELPHI, by Wendy Artin, watercolor paintings, November 1 - 31, 2013. Opening Reception, Friday, November 1, 6-9pm.

An exhibition entitled Stone From Delphi by the artist Wendy Artin, featuring watercolor paintings inspired by statuary from Antiquity and by the translations and writings of the poet and Nobel Laureate Seamus Heaney that were collected in his recently issued, Stone from Delphi. Sixteen of Artin’s paintings accompany Heaney’s poetry in a volume that was published this year by the fine art press Arion Press.

At the recommendation of the American artist Eric Fischl, Wendy Artin was invited by Arion Press to enter into a conversation with Heaney’s writing. Responding visually to a text was a first for Artin. “I never intended to translate Heaney’s extraordinary verse into images,” she says. “Instead, just as his verse was inspired by the myths recounted by the classical beholder, I searched for inspiration in the classical statues representing the mythological characters. My sources were the statues of Antiquity, whose elegant forms breathe with light and shadow, and the spread of pigment-stained water over the page.”

Heaney, who died in August, spent the better part of his life reading, translating, and being influenced by Virgil, Ovid, Horace, and other classical authors; since arriving in Rome 19 years ago, Artin has been immersed in classical ruins and sculpture, observing, painting and refining her understanding of the ancient world with each new cycle of work. Bringing together these two dexterous craftsmen—one in language, the other in paint—made for a memorable pairing.

It also set Artin on a year-long journey of her own: “The images of the statues I had painted and drawn all my life in museums around the world returned to mind,” she explains. “For the book with relish I re-painted, to scale, some of my favorite statues—the Nereid Galatea, the Maenad of the Campidoglio, the Ludovisi Throne Aphrodite. I seized the opportunity to paint statues I had always admired but never quite gotten to—Actaeon, Venus de Milo, the Laocoon as Jupiter in despair. Other characters, such as Charon of the river Styx, were harder to find, and through researching them I found scores of fantastic statues I had yet to paint.”

Artin’s work did not stop when she fulfilled the commission for the Arion Press book, however. “I came across so many enticing subjects while researching imagery for Heaney’s verse,” Artin says, “that I simply had to keep going.”

More Maenads, Aphrodite, Asclepius, Helios and Mars, are just a few of the subjects that Artin has brought to life with this new work. Some watercolors are of book size; others are on a larger scale.

“My goal was to try to find the right balance between heavy and light, strength and fluidity,” Artin says. “I wanted the paintings to be abstract and then click into focus.”

Adele Chatfield-Taylor, President of the American Academy in Rome, said this about Artin’s work: “If the problem of art is to make something alive, in whatever language it takes to be understood, she has succeeded by inventing a language that has classical roots but a visceral immediacy.”

Artistic Advisor at the American Academy in Rome, Wendy Artin completed her undergraduate studies in French Literature and Painting at the University of Pennsylvania and her Masters of Fine Art at the Museum School of the Boston Museum of Fine Arts. Her artwork is in Museum collections and is collected by Princess Caroline of Monaco, Isabele Adjani, John Guare, Adele Chatfield-Taylor, Gustavus Remak Ramsay, Steve Martin, Eric Fischl, April Gornik, Richard Leacock, Valerie Lalonde and Jacques Grange. She has exhibited in New York, Boston, Rome, Milan and Paris. Her work has been featured in Pratique Des Arts, American Artist, The New York Times, Vanity Fair, Gourmet, Elle Decoration, Cote Sud, French Vogue, Elle, Carnet, and the Boston Globe, among other publications. She has been featured on BRAVO television's Arts & Minds.



AUTUMN 2012 EXHIBITIONS

SIGHT LINES- by SEAN THOMAS, oil paintings + watercolors, December 7, 2012 - January 13, 2013

Gurari Collections is pleased to present an exhibition entitled SIGHT LINES by the Providence artist Sean Thomas. By means of oil paint and watercolor on canvas, panel and/or paper, Sean Thomas investigates the intersection of the built environment and the residual landscape it creates. Thomas’ empirical readings of industry’s sprawl and turbulence coalesce into compositions of mass and light. Ironically, one would be lead to believe that his artwork would be heavy and ponderous, yet, much to the contrary, Thomas seems to drain away the weightiness – instead, we are left with compositions flooded with light. Buildings appear to hover animatedly over the landscape making indefinite connections to ground. He uses the two-dimensional surface in an adept way; composing within the space of the paper itself. This affords Thomas’s paintings a dimensionality suspended by the play of light and form.

A graduate of the Rhode Island School of Design (RISD), Sean Thomas has been a working artist in the ensuing years. Sean spent a year in RISD’s European Honors Program, studying the light, architecture and culture of Rome. He has participated in multiple group and solo gallery exhibitions. His artwork has been reviewed in local and regional publications.

BICYCLE- by TALIAH LEMPERT, paintings + work-on-paper, November 2 - December 2, 2012

Gurari Collections is pleased to present an exhibition entitled BICYCLE, by the Brooklyn based artist Taliah Lempert,. For close to the last two decades Taliah Lempert has been deconstructing and reconstructing the bicycle as her point of study and interpretation. It is not just the bike itself but also the people that own and personalize this mobile means of transport. Both the technological investigation, as well as the need to recognize that customizing the machine is a means of self-expression, go into Taliah Lempert’s realizations. This enables her to paint these bicycle portraits, and by extension their owner’s portrait. Equally, her printmaking, multiples to reach a large and diverse audience, have promoted the role of the bicycle as a social and economic factor for our future. Taliah, through her art of the bicycle, has signified its’ relevance in today’s world.

In Lempert’s celebration of the bicycle all investigations are exemplified. A child’s push pedal, to that of a world champion’s finely crafted and calibrated bicycle, are equally explored. One can imagine from her paintings the emotion and energy each person brings to their experiences with velocity. The act of movement, either for purpose or pleasure, empowers us with a sense of freedom that compels. Taliah’s bicycle paintings convey this energy. All in all, those first childhood experiences with movement propelled by our own effort never lose that exuberance at any age.


CAVE DRAWINGS- by CHRISTOPHER FISHER, photographs, October 5 - 28, 2012

Gurari Collections is pleased to present an exhibition entitled CAVE DRAWINGS by the artist Christopher Fisher. Cave Drawings are photographic images derived from and referencing the vast underground of advertisement, graffiti, detritus and happenstance that cover walls in the New York City Subway system. Living in Brooklyn, Fisher spends many hours traveling this otherworldly environment. His observations, and anthropological like investigations, have lead him to this exhibition of photographs which have their own ubiquitous visual language. Peeling layers of paint and paper, as well as tile like remnants of commercial notices and billboards, provide context for these residual abstractions. Inviting us to visually participate, Fisher’s artwork has us re-image the lost messages that are barely visible, if at all. These fragmented and disintegrated wall coverings have superseded their former meaning, instead becoming painterly abstractions of that which remain.

Christopher Fisher celebrates this new found abstraction in his artwork and allows us to engage with past, present and future as one. The visual image redefined by happenstance, erosion and decay.

With a Masters of Fine Arts degree from the School of Visual Arts, New York, in Photography, Video and Related Media, the artist has been actively involved with his photography and has curated gallery exhibitions throughout the New York region. His photographs are exhibited in the New York metropolitan area.


SPRING 2012 EXHIBITIONS

NEW DRAWINGS- by Scott Tulay, work-on-paper, May 4 - 27, 2012

Gurari Collections is pleased to present an exhibition entitled New Drawings by the artist Scott Tulay. By referencing architecture and nature, the drawings made of ink, charcoal and pastel, continues the artist’s investigation with space, light and constructed line in this exhibition. Principally using the palette of black, white and gray, he paints chiaroscuro filled compositions that offer imaginative ambiguity. Light is engaged in defining space, which also possesses a transmission quality – movement of light in space. Each drawing presents itself as renderings of imagined graphic geometries applied with a painterly sensibility.

Employing perspective skillfully, Tulay engages us by layering dimensional space. At times cinematic, and others completely still, his artwork provides a wide range of feelings.
Sometimes color is imbedded in a drawing providing additional dynamics to the work of art. His adroitness of technique delivers vibrant and energetic compositions. Tulay offers us in this exhibition new discoveries of spatial perception.

With a degree in Art History from Tufts University and a graduate degree from M.I.T. in Architecture, Tulay has professionally focused on practicing architecture. In his fine art drawings he continues investigating the boundaries of spatial relationships. Scott Tulay’s artwork has been written about in national fine art journals and is in museum, institutional and private collections.

KEN GOLDSTROM - WORK-IN-CLAY, June 1 - 24, 2012

Gurari Collections is pleased to present our second exhibition of work-in-clay by the artist Ken Goldstrom. Ken’s evocative imagination is captured in his creation of sculptures, plaques and tiles. Each work of art possess it’s own distinctive character. Awakened by a childlike curiosity, these characters seem familiar, but are not. Instead, through his mastery in hand-built and fired clay work, Ken Goldstrom’s imaginative world is brought to life by symbol, metaphor and humor. We, in turn get to encounter his whimsical creations which are a delight to the senses.

A graduate of Rhode Island School of Design, Ken has supported himself as a working artist in Massachusetts for the last thirty years. Skilled in all methodologies of the ceramic arts, he works the three-dimensionality of clay into forms endowed with character. Ken's work is folkloric in nature and suggests story-like fantasy.


AUTUMN 2011 EXHIBITIONS

THE PARTHENON FRIEZES by By Wendy Artin, watercolor paintings, November 4 - 28, 2011

Wendy Artin’s November exhibition entitled THE PARTHENON FRIEZES, at Gurari Collections, is a demonstration of patience, endurance, visual insight and painting mastery. Galleried at the British Museum, the Parthenon sculptures enjoy world renown for their representational beauty, conflict of a storied past, and their sheer magnitude of sculptural presence. The large monochromatic watercolor paintings in this new series are life-size in scale so as to best evoke the splendor of this ancient parade.

Undertaking the painting of the Parthenon Friezes was a long held goal of Ms. Artin’s. After many years of observation and sketching, the last two years have been dedicated to making this vision a reality. The watercolor paintings attempt to inspire the same awe that we feel when we are in front of the physical bearing of the marble reliefs. Notwithstanding, Artin works the surface of the paper so as to, in her words,“reveal the very tactile experience of wet pigment on porous paper creating an illusion that fades in and out.”

The marble stones themselves, while exquisitely chiseled at the time of their creation, have, over time, been worn into rich and delicate abstracts of what were once three dimensional and refined. Sometimes only indeterminable fragments remain. Wendy Artin allows the image to emerge from the paper with no discernable start or finish. She captures all the gradations of tone within one wet wash, quickly, before the brushstroke dies, she pushes dark in here and lifts light out there, keeping the watercolor fresh and light on the surface.

What we perceive to be the materiality of marble and the rhythmic movement of figures in relief, we experience as the elegant harmony of antiquity with the organic crumbling and stains of time. Artin wants the illusion to be almost total, for the realism to pull the viewer in at the same time that the marks remind one that this is simply wet pigment that has stained the fibers of paper.

Moving from the inanimate nature of stone, the friezes as paintings in watercolor by Wendy Artin, become startlingly alive on a papered surface. To tease out the many thousands of years of this storied work of art, and to do so in the most ethereal of mediums, allows us to experience a new presence of these fabled Parthenon Friezes.

Wendy Artin received an MFA from the School of the Museum of Fine Arts in Boston; she also studied at the University of Pennsylvania and the Ecole des Beaux-Arts in Paris. She has lived and painted extensively for the last fifteen years in Rome, and has painted in Boston, New York, Mexico, Guatemala, and France. Her work is in the collections of the Boston Museum of Fine Arts, the Boston Public Library, Fondation Colas, Princess Caroline of Monaco, Isabele Adjani, John Guare, Adele Chatfield-Taylor, Gustavus Remak Ramsay, Steve Martin, Eric Fischl, April Gornik, Richard Leacock, Valerie Lalonde, Pierre Passebon and Jacques Grange. She has exhibited in New York, Boston, Rome, Milan and Paris. Her work has been featured in Pratique Des Arts, American Artist, The New York Times, Vanity Fair, Gourmet, Elle Decoration, Cote Sud, French Vogue, Elle, Carnet, and the Boston Globe, among other publications. She has been featured on BRAVO television's Arts & Minds.


CONTEMPLATING VANITY by Leon Steinmetz, work-on-paper, October 7 - 31, 2011

In CONTEMPLATING VANITY, an exhibition of work-on-paper by Leon Steinmetz. An artist and intellect, Steinmetz takes inspiration through a range of influences from mythology, the Age of Reason, to that of select modern art masters. His work is filled with theatrical like irony poignantly involved with the human condition.

As Steinmetz states, “The artworks presented here came from various series, which have been created within the past few years. When I want to say something visually, I often feel that one sheet or one canvas is insufficient. So, I keep going, producing the works until the topic is visually exhausted for me. Thus, one series may consist of fifty works, while another of just four.”

Steinmetz is an American artist living in Cambridge, Massachusetts. His work is represented in the permanent collections of the world’s major museums, including the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Philadelphia Museum of Art, the Yale University Art Gallery in New Haven, the British Museum in London, the Albertina in Vienna, the Dresden State Art Gallery in Dresden, and the Pushkin State Museum of Fine Arts in Moscow among others.

His latest solo exhibit was at the Pushkin State Museum of Fine Arts in Moscow, Russia, (December 2009-January 2010).
“STEINMETZ is a quintessential contemporary artist; but what makes his art unique among current trends is his almost palpable connection to the Old Masters. In his works—comic or tragic, figurative or semi-abstract—he tackles the same timeless themes they did, but expresses them in an unmistakably modern language.”
H.A. Crosby Forbes, Collector, Philanthropist and Curator Emeritus of the Peabody Essex Museum



SPRING 2011 EXHIBITIONS

FLORASYNTHESIS - by Vico Fabbris, watercolor paintings and work-on-paper, May 6 - 29, 2011

In FLORASYNTHESIS, the exhibition expands upon the artist’s exploration of imagined botanicals. Culled from his familiarity with nature, plant and flower species, as well as pollinating insects, Vico Fabbris has synthesized his fantasies drawn from reality and imagination. He envisions a world of the slightly surrealistic, complete with fictitious latin names or a genus story as part of the painting. He is especially attuned to the loss of nature and the fragility of botanical species. He replaces the lost habitat with these “flights of fantasy”.

In this new exhibition Fabbris pushes his painting technique in new directions. Loose and expressive, his work proposes plants and flowers with a scientific level of detail, yet his creations have an enigmatic flair that presupposes believability. Fabbris’ botanical world seems familiar yet it clearly is not.

In so doing, he delights the eye by creating the satirical and absurd as well as the “almost real”. Whether engaged by an imagined context, by a supporting story, or alone in mid-air suspension, Vico Fabbris’ artwork is exuberant and a celebration of the inventive mind.

FLORASYNTHESIS

Ken Goldstrom - WORK-IN-CLAY, June 3 - 26, 2011

Gurari Collections is pleased to present an exhibition of work-in-clay by the artist Ken Goldstrom. Sculptures, plaques and tiles are armatures for his evocative imagination. Each work of art possess it’s own distinctive character. In fact, these characters, awakened by a childlike curiosity, seem familiar, but are not. Instead, they are Ken Goldstrom’s world brought to life by his mastery in claywork. In turn, we get to indulge in his whimsical creations which are delightful in an age of anxiety.

A graduate of Rhode Island School of Design, Ken has supported himself as a working artist in Massachusetts for the last thirty years. Skilled in all methodologies of the ceramic arts, he works the three-dimensionality of clay into forms endowed with character. Ken's work transcends the broader context by reducing his symbols to the folkloric.
As found in Time Out Boston magazine

AUTUMN 2010 EXHIBITIONS

AUTOMATA - ENERGY IN MOTION, By environmental artist JOAN BRIGHAM, December 3, 2010 - January 15, 2011.

Gurari Collections is pleased to present AUTOMATA – ENERGY IN MOTION, an exhibition of kinetic glass sculptures by the environmental artist, Joan Brigham. By definition, automata are self-operating machines to demonstrate scientific principles or for whimsy. Their origins can be traced to the Hellenistic period of Heron, known also as Hero of Alexandria. Hero has been credited with the invention of the aeolipile, a steam engine that generates rotation of a solid object, as many of the work in this exhibition exemplify. Throughout history, scientists and inventors have developed sophisticated technologies based on these principals, while artists continue to explore the use of energy in art. Joan Brigham has explored this notion throughout her career as an artist and educator. A permanent example, Galaxy Fountain, by Ms. Brigham is a steam and water generating iconic fixture in Kendall Square, Cambridge, Massachusetts. By working large, and in small scale, these artful inventions add wonder to our experiences.
A Research Fellow from 1974 -1999 at the Center for Advanced Visual Studies at M.I.T, and Professor Emeritus in Fine Art, Emerson College, Joan Brigham has been advancing the relationship of science and the arts. The intersection of these disciplines continues to resonate in laboratory and studio. Stepping back to the engines of the ancients, applying them to contemporary concepts, she allows for a timeless connection of science and the arts. Come join us in reveling in - energy in motion.

NINE BY SIX - October 29 - November 28, 2010. An Exhibition by Stephen Harby, Alexander Purves, Buzz Yudell, Wendy Artin, Tina Beebe, and Jeremiah Eck

EXHIBITION IMAGES: NINE BY SIX

Gurari Collections is pleased to present NINE BY SIX, an exhibition by six artists who all have a love of plein air painting. It all started with a grant. When Stephen Harby got the Gabriel grant he suddenly worried that his technique would not be up to the challenge, and his colleague Tina Beebe came up with the brilliant idea of hiring a watercolor teacher. The watercolor group they formed with Buzz Yudell expanded, retracted and traveled, painting and visiting architecture, from California to Morocco, Sicily, Provence. Stephen soared through the Gabriel grant, only once being required by his rather severe but gimlet-eyed French advisor to rinse his too colorful painting beneath the robinet.

Tina and Buzz were protégés of Charles Moore, then Dean of Architecture at Yale, who inspired Buzz to to pursue architecture, Tina to devote herself to architectural color, and both of them to follow him to California. Thinking it would be fun just for a year, they have now been there for thirty-five, married, with thriving firm and followers.
When Alec Purves was offered the possibility of teaching a Yale graduate architecture program in Rome, he said he had one condition: that former student Stephen Harby share the post. Each summer for ten years with dozens of students in tow through the busy streets, the two have examined Rome inside out, inspiring and making beautiful watercolors of its architectural wonders.

When Wendy Artin met Russ Gerard, she was already based in Rome, having set foot in her future husband’s travel bookshop and thus turned her own traveling into the ephemeral sort. Russ, formerly Associate Dean of Roger Williams School of Architecture, was delighted to show Wendy’s work in his new gallery, as years earlier he had brought his students to draw inspiration from her show at the Boston Public Library.

The following year while Stephen was a Fellow at the American Academy in Rome, he set out to look up the niece of his former colleague Robert Harper. It turned out that president of the Academy, Adele Chatfield-Taylor, was doing the same. The two joined forces and took turns lavishing upon Wendy, in her very small apartment, great kindness and support.
Recently, prominent Boston architect and talented landscape painter Jeremiah Eck came to Russ Gerard’s gallery to look upon the work of Wendy Artin. He reminisced about one of his first great teachers at Columbia who had been a major influence. Russ said “but here he is!” and presented him with his former professor Alec Purves, who had just written the brilliant introduction to the show’s catalogue.

As chance may have it, these six artists’ encounters have now provided us with this exhibition, NINE BY SIX.


ADNAN CHARARA - THE ARTIST AND HIS PROTOTYPES

September 24 - October 24, 2010

Gurari Collections’is pleased to present an exhibition of sculptures and drawings by the artist Adnan Charara. Entitled The ARTIST AND HIS PROTOTYPES, the exhibition explores the reconfiguration of reclaimed and found artifacts from everyday life into humorous and poignant figurative assemblages. Whimsy and delight are currents that continue to be expressed in Charara’s work. This, notwithstanding, is juxtaposed by the social and cultural histories that the reclaimed objects exemplify. By presenting his sculptures as “personalities” Charara’s work “suggests narratives that speak of the human condition”.

Drawing upon his international background, Adnan Charara has evolved his uniquely descriptive point of view as a fine artist. Always seemingly playful at first sight, his work resonates with topical issues suggesting narratives that explore injustice, fear and anxiety, as well as resilience, adaptability and growth.. The reclaimed objects and bronze sculptures act as models or prototypes that provides the audience with new perspectives for reinterpretation. His drawings, based upon these artifacts, further these notions by juxtaposing his use of humor to make powerful statements with his art.

Adnan Charara has been recognized and collected by museums, institutional and corporate collections as well as private collections. His artwork has been written about in international and nationally acclaimed journals and magazines.

SPRING 2010 EXHIBITIONS

DIMENSIONAL/TRANSPARENCIES - SCOTT TULAY, work-on-paper

The exhibition investigates the ambiguity of space. Whether inspired by built form or natural context his art is constructed by an armature of light. Light is engaged in defining space, which also possesses a transmission quality – movement of light in space. Scott Tulay is especially attuned to exploring this relationship. With training and practice in fine art and architecture he tries to push his work, rendering up imagined graphic geometries of the manmade, yet, applying the deftness of a painter’s sensibility. Employing perspective skillfully, Tulay engages us by layering the dimensional space ambiguously. Prismatic and hurried light beckons us to read the work cinematically. Conversely, a haunting almost ghosting sensation pervades other work where one can hear a silence of space.

Principally a monochromatic palette persists juxtaposing values from black to white. Hints of color inflect some work, thereby invoking a suggestive context. Using ink, charcoal and pastel, the mediums cohabitat the compositions deftly and seamlessly. This adroitness in technique delivers vibrant and energetic compositions. Tulay brings us to thresholds of new spatial perception in this exhibition.

FLORALIES - VICO FABBRIS , watercolor and work-on-paper

April 2 - May 2, 2010

An exhibition of watercolor paintings and work-on-paper by the artist Vico Fabbris. Entitled FLORALIES, the exhibition continues the artist’s exploration of fantasy botanicals. In an era where environmental concerns are paramount, Vico Fabbris is especially attuned to the loss of nature and it’s delicate species – flowers. He attempts to replace the lost habitat with botanical “flights of fantasy”. In so doing, he delights the eye by creating the “almost real” as well as the satirical and absurd. Whether engaged by an imagined context, by a supporting story, or alone in mid-air suspension, his artwork is exuberant and a celebration of the inventive mind.

FALL 2009 EXHIBITIONS

COLUMNAE - WENDY ARTIN, watercolor paintings

November 24 - December 20, 2009

COLUMNAE, Artin’s upcoming show of watercolors at Gurari Collections, features 60 paintings of architectural columns and landscapes from Rome’s ancient history, a selection of sanguine nudes both male and female, statuary, as well as still life watercolor paintings - birds, lemons and more.

Regarding the title of this exhibition, COLUMNAE, according to Marcus Vitruvius Pollo, (80 –15 BC.), in De Architectura,

“All these should possess strength, utility, and beauty. Strength arises from carrying down the foundations to a good solid bottom, and from making a proper choice of materials without parsimony. Utility arises from a judicious distribution of the parts, so that their purposes be duly answered, and that each have its proper situation. Beauty is produced by the pleasing appearance and good taste of the whole, and by the dimensions of all the parts being duly proportioned to each other”.

If strength and utility are absolutes in the built form, then beauty is the result of these conditions creating, defining and participating in context. Wendy Artin has been living, breathing in, and painting in Rome and the Campagna over the last fifteen years. In so doing, she has experienced her art in the pulsations of light, shade, and shadow that this city, and this country of civilization, renders. Living daily with the sites, the sounds and all the senses at play, she paints a history in the present that transcends time.

As Wendy Artin observes in the following thoughts –

“ Hot stones, sounds of crickets, great stillness, sun revealing forms and shadows like puddles of clear watercolor. A gust of wind brings gentle wafts of sun-baked plants, the same wind that for centuries has gradually worn away and rounded off the architectural shapes that seem eternal, in their great immobility. This is what stimulated me, the current magic world of architecture created in an ancient past.” Wendy Artin, 2009

Whether inert as in architecture, or in the movement of the live figure, Wendy Artin deftly captures the essence of its being through mastery of the painter’s hand and the timelessness that her innate ability conveys.

Wendy Artin received an MFA from the School of the Museum of Fine Arts in Boston; she also studied at the University of Pennsylvania and the Ecole des Beaux-Arts in Paris. She has lived and painted extensively for the last fifteen years in Rome, and has painted in Boston, New York, Mexico, Guatemala, and Paris. Her work is in the collections of the Boston Museum of Fine Arts, the Boston Public Library, Fondation Colas, Princess Caroline of Monaco, Isabele Adjani, John Guare, Adele Chatfield-Taylor, Gustavus Remak Ramsay, Steve Martin, Eric Fischl, April Gornik, Richard Leacock, Valerie Lalonde and Jacques Grange. She has exhibited in New York, Boston, Rome, Milan and Paris. Her work has been featured in Pratique Des Arts, American Artist, The New York Times, Vanity Fair ,Gourmet, Elle Decoration, Cote Sud, French Vogue, Elle, Carnet, and the Boston Globe, among other publications. She has been featured on BRAVO television's Arts & Minds.

Gurari Collections is proud that COLUMNAE is our seventh exhibition of Wendy Artin’s artwork. The exhibition is from November 24 - December 20th, 2009, in our gallery in the South End of Boston, 460 Harrison Avenue, Boston, Massachusetts, 02118.

October 2 - 25, 2009

INQUIRIES - T. KELLY WILSON, Recent Work - Oil Painting, Graphite Drawing. After many years of plein-air painting, INQUIRIES has brought the artist into the studio to study, to deconstruct, to obtain space, light, and color from an honored begonia plant. As the exhibition will demonstrate, Kelly Wilson is facile in the analytic and expressive in the nature of painting. Wilson's work resonates with the color-coding of space and the making of dimensional planer surfaces that are warped by the life and age of this plant. Since his inquiry covered a lengthy time span, the investigation measures the begonia's own changes and morphology. The organic nature of plant form defines its’ context with density and sparseness, shoots and projections as it seeks light by which to grow. Wilson recognizes that he can only “ paint the visible’” yet his fascination with the “invisible” – the space and air of this begonia’s universe - is “colorless, though not formless.” He reconciles the seen and unseen by allowing his paint, his palette, to undulate this living natural world. Movement of surface to light and back again presents a unified whole in a vibrancy and simplicity at once.

The subsequent paintings and drawings reveal and pleasure the senses.

T. Kelly Wilson has received a Master in Architecture from Harvard University and a Bachelor of Architecture from the University of Auburn. He continues as an adjunct Associate Professor of Architecture at the Graduate School of Design, Harvard University, teaching Visual Studies and he directs the Harvard Rome Study Program. He has had a long (25 plus years) and active career in Higher Education at distinguished universities such as Yale College, M.I.T., Rhode Island School of Design. Along with teaching, he pursues a life of painting and drawing with exhibitions at noted galleries in the United States and abroad. In the best sense of the word, Wilson’s talents encompass the best of the artist-architect tradition of the Renaissance humanists to the modernist work of artist-architect such as Le Corbusier. His work has been published in The New York Times, Boston Globe, Columbus Dispatch, Design New England, Architecture and Architectural Record, as well as Harvard Design Review, among other publications.


Gurari Collections annually exhibits 3 - 6 individual artists work and/or thematic exhibitions built from the gallery's inventory. Select artists who have presented at Gurari Collections come from diverse and international backgrounds. American, Italian, French, Russian and German artists have successfully shown their work at the gallery. Topical exhibitions have included; "The Inventive Mind" inventions in creative design 17th -20th centuries; "Celestial Bodies" antique star charts to satellite photographs (from the mythic to current scientific investigations); "Masterpieces of European City Plans" including 18th century engraved wall maps of Paris, Rome and London.

Please look for more updates as new exhibitions find their way onto the schedule.