Almond Zigmund
East Hampton, 2012
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| (c) 2012 Blinnk, Richard Foulser |
While studying art at the University of Nevada in Las Vegas, Almond Zigmund became spellbound not only by the vast desert landscape but by artifice and its power to construct and manipulate spatial relationships -- in deed -- to affect whole cultural environments. The strange beauty and complete absurdity of the world's most famous gaming mecca, seemingly dropped in the middle of flatland, was not lost on Zigmund whose site-specific installations merge perception, mythology and memory with the drama of placement/displacement and shifting, often thrilling, perspectives.
Christa Maiwald
East Hampton, 2012
Christa Maiwald's signature works are embroidered portraits on all manor of topics,
many of them hotly political. As an artist she has worked in every conceivable
medium from film and performance to painting, sculpture and installation,
turning to embroidery when she moved to East Hampton in the 1990s. Since then,
her works have morphed from polemics to playfulness and from stinging
commentary to tender poems. In her series, Short Stories, Maiwald
fictionalizes accounts with artists, inviting Duchamp to dance with Rose Selavy
or for the artist herself to sit with Vermeer's Lacemaker.
Matthew Satz
East Hampton, 2012
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| (c) 2012 Blinnk, Richard Foulser |
For Matthew Satz the medium really is the message. Rivulets of pigment, smoky residues on canvas, tar and feathers -- for this artist, process, concept, and systems of logic are the driving force in the eclectic body of work that has developed over two decades. Satz moved to East Hampton in the mid-90s, drawn here by its history of artistic legacy. His layered, accumulative works celebrate both the performative and the cerebral; the gestalt and the ghost of Greenbergian theory.
Aya Miyatake
East Hampton, 2012
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| (c) 2012 Blinnk, Richard Foulser |
The intricate stone carvings made by Aya Miyatake are the sort that take your breath away. Her process is long, requiring hours of concentration on chiseling, shaping, filing, and polishing before form emerges and evolves. In numerous of Miyatake's marble works, the stones themselves tell a geological story that unfolds as if a winding narrative is embedded in their core.
Diane Mayo
Montauk, 2012
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| (c) 2012 Blinnk, Richard Foulser |
Diane Mayo’s Montauk studio is joyful place -- a mélange of Skutt kilns, stacks of pale glazes, bags of clay
and immense cylinders, orbs, tubes and vessels. Her glazes, applied with a painter’s eye, bake into bars of color and floating animals and
insects. Mayo's ceramics are kaleidoscopic, with undulating graphics and the occasional picture tale.
Rex Lau
Montauk, 2012
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| (c) 2012 Blinnk, Richard Foulser |
Rex Lau's paintings transport the viewer to a magical world where fields of imagery weave in and out of pictorial space. Each element is rendered with such explicitness that it seems to claim its own sovereign domain. Like Mughal miniatures or Byzantine icons, Lau's compositions include tightly woven brushwork, frontal landscapes and topographic patterning that coalesce into masterful narratives.
Priscilla Heine
East Hampton, 2012
Priscilla Heine's art is buoyant and elastic, fueled by observation,
memory and the sorts of rhythms that punctuate daily life. Her visual language
is intuitive, allowing the artist to assimilate the many worlds in
her midst – music, literature, nature – and translate them into the mental
imagery, the emotional landscapes and the sparkling, hot-blooded forms that
fill her canvases. Infused with an internal dynamic, the driving force in Heine's oeuvre is
the mind within.
Michael Rosch
East Hampton, 2012
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| (c) 2012 Blinnk, Richard Foulser |
The paintings in Michael Rosch's studio exude aspects of Minimalism such as composure, tranquility and economy of means, but they muscle their way to the surface through the vigor of a more tangible, more physical world. Conversely, his sculptures assert themselves as drawings in space -- leaping
upward, stretching across, looping in mid-air like the strokes in action painting -- to seemingly defy their own
physical properties. Straddling these two disciplines, Rosch's works examine the intersections of anima, actuality and intuition.
Jane Martin
East Hampton, 2012
...narrative to come
Dan Rizzie
Sag Harbor, 2012
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| (c) 2012 Blinnk, Richard Foulser |
in tonality, architecture and vision.
David Slater
Sag Harbor, 2011
Throughout a career that spans nearly half a century, David Slater’s narrative painting style has morphed in and out of wavy dreamscapes and political angst, frank sexuality and the kind of cultural warfare that came to define a generation. Uncompromising and eccentric, inside this artist beats the heart of a revolutionary. If Max Beckmann, Diego Rivera and R. Crumb procreated, David Slater would undoubtedly be their love child.
Ryan Wallace
East Hampton, 2011
Ryan Wallace creates works that bounce between minimal and maximal, science and mysticism and image and imagination where they come to rest in that fuzzy cross-section that hovers among the likes of harmonic convergence, atomization and pure radiance. His paintings and mixed media works have the distinct feel of having been wrenched from the grid and its historic place in art history to land some place that is unidentifiable yet fully formed. In the process, they are rendered into a fragmented effervescence that integrates and disintegrates before the eyes.
Drew Shiflett
East Hampton, 2011
Drew Shiflett’s body of work is
striking for its fanaticism, for the sang-froid it
radiates and for the complex pictorial logic that emanates throughout its layers. Shiflett sprawls across expanses of handmade paper with simple tools --
pencils, paper, scissors, glue – and through a gradual process of cutting
and layering, content emerges. The complex surfaces serve as
scaffolding for what she calls “constructed drawings.”
Jack Youngerman
Bridgehampton, 2012
Jack Youngerman is one of the standard bearers of the generation of abstract painters that came to define post-war American art. In his sprawling Bridgehampton studio, color and form coalesce in brilliant chromatic aphorisms that hover between archetype and eccentricity. Since Dorothy Miller and the Museum of Modern Art included him in the landmark exhibition, Sixteen Americans, Youngerman has been mining a visual territory all his own, yet seminal to the development of American art.
Sydney Albertini
East Hampton, 2011
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| (c) 2011 Blinnk, Richard Foulser |
Born in Paris, Sydney Albertini's art moves between form and function with astonishing ease. Her first love, painting, was nurtured by her studies of fresco painting in Italy, augmented by work at Paris's Atelier de Sevres and at Parsons The New School for Design in New York. Graphic and visually complex, her kaleidoscopic paintings celebrate the majesty and simplicity of daily life and its intimacies. But Albertini is a true phenomenon whose focus is broad and exhilarating and includes colorful ceramics, quilts and knitwear as well as portraits, sculpture, book arts and more.
Carol Hunt
Southampton, 2011
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| (c) 2011 Blinnk/Richard Foulser |
Carol Hunt is drawn to the metaphysical. Her paintings writhe with a syncopation that dives
in and out of deep space and the dense textural fields that layer her canvases. The language
of her gestures -- precocious, crisp and lyrical -- is one that revels in abstraction's freedoms
and its ability to elicit a range of emotions. Her works chronicle a life of the mind and all
its raptures and seductions, frenzy and rage. Hunt's composition exude spontaneity,
succinctness and clarity of purpose.
Connie Fox
East Hampton, 2011
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| (c) 2011 Blinnk/Richard Foulser |
Connie Fox finds inspiration within the complex weave of a life that began in the Colorado Dust Bowl of the 1930s. Eventually, she migrating to California, the American Southwest and to seemingly endless bike rides that crisscrossed Denmark. And now, for some thirty years, the artist's focus has come to include Sammy's Beach, a slip of sand and marsh that sits astride Long Island's Three Mile Harbor. There she swims and meditates, observes and absorbs. The East End provides some of the source material that has become endemic to her painting, allowing it to bounce between nuance and cognition, poetry and prose, movement and stillness.
William King
East Hampton, 2011
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| (c) 2011 Blinnk/Richard Foulser |
Now in his 6th art making decade, Bill King's sculpture reveals a sureness of hand and
the deft and economical poetry that only a lifetime of focus can bring. His sculptures range from monumental figures to diminutive bronzes that
engage in a variety of contortions and bon mots. They are touching and often
farcical in the way that conjures the tragi-comedy of Samuel Beckett, Moliere and America's quintessential "everyman,"
Dagwood Bumpstead.
Jennifer Cross
East Hampton, 2011
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| (c) 2011 Blinnk/Richard Foulser |
Jennifer Cross has left an indelible mark on East Hampton both through the hypnotic paintings she creates in her Springs studio and her formidable presence as teacher, curator and cultural doyen. As Dean of Arts at the Ross School, her vision has helped guide a generation of young artists. From 1985-1990 she presided over the East Hampton Center for the Contemporary Art, where she curated over thirty exhibits of artists from the East End and beyond. Her paintings combine the ethereal landscape with a poetry that is quixotic, internal and other-worldly.
Steve Miller
Wainscott, 2011
Mike Solomon
East Hampton, 2011
Growing up in East Hampton (and Florida), Mike Solomon witnessed the halcyon days of artists the likes of Willem de Kooning, James Brooks, Alfonso Ossorio and many of his father's, the late artist Syd Solomon, generation Ab-Ex friends. Solomon's own life reads like an art world Great Expectations. His art is expansive and smart, drawing on fluid grids and hyperbolic planes, subtle shifts in natural light, watery causeways and sweeping vistas that curl across the retina as if invisible, like gravity.
Hiroyuki Hamada
East Hampton, 2011
Hiroyuki Hamada's sculpture is contemplative and industrial -- elastic and austere. Hamada's transformation from painter to sculptor began when he started applying tar to his canvasses. Its depth and tactility was a seductive replacement for pictorial illusionism, leading to the sculptural language he has developed in the past fifteen years.
Peter Dayton
East Hampton, 2011
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| (c) 2011 Richard Foulser/Blinnk |
Richard Foulser is represented by Trish South Management.
all images (c) 2012 Richard Foulser/Janet Goleas/blinnk.blogspot.com
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