Four artists from Denise Bibro’s “Art From The Boro’s II” exhibit demonstrate that ready-mades and other objects originally designed to serve utilitarian functions can be reincarnated in marvelous ways.
CHICAGO, IL.- For the past three years, acclaimed painter Audrey Ushenko has been intermittently visiting the James R. Thompson Center, 100 W. Randolph Street, to work on a 4.5’ x 5.5’ painting depicting the cross section of individuals that visits the Illinois government building.
July 31st, 2014 — AS | ARTISTS STUDIOS and 33 Orchard Street host AS | Orchard, a selection of works made by 30 artists from New York City and Paris, France who were discovered through the process of the in-person studio visit.
Tim Ripley, Blue Velvet, 2013
mixed media sculpture, 10" x 8" x 6"
Denise Bibro Fine Art, in Chelsea, New York City is pleased to present Tim Ripley’s second solo exhibition with the gallery, running from September 11 through October 25, 2014.
Tim Ripley continues to employ his complex, multi-layer process of sculpting, photographing, digital rendering, and eventually painting his refined oil on panel paintings. His works continue to explore the ideas of biological and mechanical reproduction. His new candy-colored polymer sculptures are comprised of thousands of tiny structures in polymer clay that are attached to the larger sculpted biomorphic surface. In a manner that references complex growth systems, his narratives involve “mitosis, mutations, inequality, and rebellion.”
In contrast to Ripley’s previous work, his new work has a brasher palette. A brash palette is employed to convey human characteristics like vanity and desire. These qualities contrast his cell structures production techniques and compositional systems, which intend to refer to logic and machines. The use of saturated decorative color palette is about artifice and surface, while the systems he incorporates speak of substantive and internal things.
Roslyn Meyer, Mosaic II, 2014
Archival Pigment Print, 31"x 24"
Denise Bibro Fine Art in Chelsea, New York presents Lush, photos by Roslyn Meyer, running from September 11 through October 25, 2014 in its Platform Gallery.
Meyer’s current body of work focuses on her love for water and the surrounding environment. Her work explores the tension between surface and depth, motion and stillness, realism and abstraction, new growth and decay. Her complex layered images both reveal and conceal. Reflection and light and the lack thereof are important components of her work. Often, Meyer revisits and re-photographs the same spot on different days and at different times knowing that time never repeats itself. Meyer’s work reflects the temporal and ever changing state of nature. Lush is not only green to Roslyn Meyer, decay has its own place and beauty; even if it’s beauty of a different ilk.
Meyer’s work has previously been shown at Brattleboro Museum, Brattleboro, VT; A Leaf Photography Studio and Gallery, New Haven, CT; Kennedy Studios, Martha’s Vineyard, MA; and the Guilford Art Center, Guilford, CT. Her work is held in the collection of the Yale University School of Medicine, as well as many private collections.
Danny Morgan, Jazz Section #4, 2013
acrylic on canvas, 30" x 40"
Denise Bibro Fine Art in Chelsea is pleased to announce Floridian artist Danny Morgan’s second solo exhibition, Recent Paintings, on view through October 25, 2014.
Morgan’s recent abstract work furthers his exploration of color and timeless fluidity of line and form. Inspired by his painting process and guitar playing, he creates chords of color, juxtaposed to his colored skeletal sketches, creating intriguing lyrical compositions.
Danny Morgan since graduating from East Kentucky University and being an art professor in the 70s has successfully established himself as a professional painter and musician.
His passion for rhythm coincides with the way he uses both his brush and his guitar. Utilizing warm, vibrant saturations of color, Morgan succeeds in creating a visceral, lyrical composition of chords comprised of organic and biomorphic shapes. The quick-drying qualities of acrylic paint are a natural choice for Morgan, provoking the action of painting. Morgan uses the brush in the same fluid manner he plays chords on his guitar; sometime spontaneous but also deliberate. Morgan’s actions induce vibrations that result in splashes of colored forms, creating notes of color that often connect and disconnect like music.
Morgan’s mission is not to dictate the meaning of the chords in his compositions, but is to create a colorful, visceral scored experience for the viewer. His paintings depict transitional space between music and color coming together into visual form. The viewer interprets his or her own intellectual, emotional, and visceral response to each work.