Awkward x 2 is a collaborative project between artists Jeremy Gilbert-Rolfe and Rebecca Norton. The artists work alternately on each piece, going back and forth with the artwork, building upon each others composition to create a visual hybrid. The Museum of Contemporary Art in California (MoCa) recently featured the artists work on MoCa TV. To browse these works in print, visit Rebecca Norton or Jeremy Gilbert-Rolfe's page at twfineart.com. [divider] MoCa TV - Published on Jan 18, 2013  Painters Jeremy Gilbert-Rolfe and Rebecca Norton try to make work that they can't predict, superimposing grids in their collaborative paintings to create a third image whose existence hovers between each painter's marks. In this unconventional artist talk, Gilbert-Rolfe and Norton discuss the various facets of their work, from conception to execution. Mapping irregular spaces onto the canvas is a way for the painters to generate an unfamiliar, yet controlled zones of movement animated by geometry. Colors are then added to the gridded spaces, releasing forces already present in the painting's structure. Referring to the weightless movement of the animated cartoon image, Gilbert-Rolfe and Norton's colorful collaborative paintings are full of physics: speed, mass, light, and math. Key to their process is the notion of going against expectations. As Rolfe-Norton explains,"Good art cuts across art history by not fulfilling its expectations, but instead doing something else." Filmed by Stephen Pagano and Tom Salvaggio. Edited by Stephen Pagano VIEW @ MoCa TV

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190 Bowery is the renegade of the neighborhood. It sits perched at the junction of Spring St and The Bowery on New York's Lower East Side and has been a legitimate canvas for street artists for decades. It is a record of urban identity. Tags from 1960 sit side by side with works from today, mingling with soot stains and the markings of age. There is a respect that street artists have for their environment and their fellow artists. Not only do they consider the aesthetics of the building's facade and it's surroundings when adding their work, they consider the art of the person that has gone before. There is an unspoken law, if it's good it stays, if it's passe' it'll be painted over. These walls are a collaboration between artists, the city and nature. New York City is an urban jungle and within it, there is an inherent respect for an art culture that is derived from city life. What some of us call vandalism others call art. Real street art works in harmony with it's environment and compliments the beauty of the city that serves as its canvas. New Yorkers embrace 190 Bowery and despite the disneylandification of Manhattan, this building stands strong - an evolving cultural icon and one of those things that makes New York City the city of all cities. Spot the Tony DePew piece in the third image.

       

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Throughout his work, Gonzalez-Torres (American, born Cuba. 1957–1996) questioned the notion of the unique art object, making series of works based on identical pairs (two clocks ticking side-by-side, two mirrors embedded in a wall) or finding inspiration in the possibilities of endless reproducibility (stacks of sheets as give-aways for visitors, piles of candy to be continually replenished). (MoMA) I had studied Gonzalez-Torres’ work at University and was fascinated by his approach to art making. It’s quite funny watching people unfamiliar with his work look on in horror as others remove pieces of the artwork and then walk out of the museum. What many people don't realize, and what makes Gonzalez-Torres' work so interesting, is that the pieces are designed to be touched and yes, taken home with you. Gonzalez-Torres wanted his work to be disseminated, to exist in unlimited, multiple places at the same time, and to be realized completely only through the participation of the viewer, which he described as “one enormous collaboration with the public,” in which the “pieces just disperse themselves like a virus that goes to many different places—homes, studios, shops, bathrooms, whatever.” FGT In 1992 critic Anne Umland imagined the future reception of his work, writing ‘a photograph promises the possibility of replication, of reemergence in a different time and under different historical circumstances, a moment when this poignant image may come to mean very different things.” I look forward to seeing the next iteration of this idea within painting and drawing! Reproducibility, collaboration, circulation and accessibility — we have reinterpreted Gonzalez Torres’ vision and incorporated his concepts into our practice at TWFineArt. We are playing with his ideas, reproducing the once unique, financially unattainable art object and in the process we aim to break down the gallery/museum experience. Great art can and should be for everyone – All for Art & Art for All.

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We are all about breaking down the traditional gallery/museum experience of art. Live with it, react to it and don't be afraid to have an opinion. The Cultural Flanerie is a BLOG written by TWFA's partner & good friend Carrie McCarthy. It is a wonderful 'wander through the arts and minds of others' in a manner that is frank, witty, honest and without pretense.

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We are so pleased to be working with the fantastic Abby Goldstein! Her intricate, gestural work celebrates painting and looks gorgeous in limited edition print. “There is a great movement underway, an attempt to cure painting of the explanationitis virus that has spread like a leaden blanket over our culture. Painting is painting and can happen in a million ways. What lends intensity to each piece is the feeling with which it is made and not the genre to which it might get apportioned.” Lucio Pozzi on Abby Goldstein. The work of Abby Goldstein has been exhibited widely across the United States at galleries including Pierogi Gallery, Marina Gallery and Kentler Fine Arts. Goldstein previously directed the Visual Arts Department at Fordham University where she currently a faculty member. Abby has created several commissioned public artworks throughout Brooklyn in NYC where she lives and works. [caption id="attachment_7160" align="alignleft" width="538"] Untitled, Abby Goldstein 2002[/caption]

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