Cynthia-Reeves' Online Art Gallery Announces Slew of Winter Events & Exhibitions
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TOMAS MUNITA & LIONEL SMIT
CYNTHIA-REEVES @ IAP, 1315 MASS MoCA Way, North Adams, MA January 10 - February 22
CYNTHIA-REEVES opens the 2015 exhibition season with an international focus on cultural and socio-political issues through the work of Chilean photographer, Tomas Munita, and South African artist, Lionel Smit. On view through February 22 at 1315 MASS MoCA Way, on the art campus of MASS MoCA, the exhibition hours are by appointment only. To visit the gallery, please call 212.714.0044.
Lionel Smit, whose work is extensively exhibited worldwide, continues to focus on the graceful and proud visage of the Malayan peoples of South Africa. "Accumulation of Disorder" is an installation comprised of forty busts cast in resin and fiberglass, each uniquely hand-painted, gathered in a circular formation. Collectively, they evoke a sense of quiet witnessing.
Tomas Munita lives in Santiago, Chile, but travels the world in search of experiencing and capturing on film war, famine, flood, and political and cultural upheaval. Yet, the images produced contain an interesting juxtaposition, a narrative layer that seems to preserve the "human-ness" of these very challenging tableaus. Additionally, the overall composition is so beautifully composed, and captured, as if it was a scene taken from a medieval painting. As a freelance photographer for such esteemed news agencies, the Associated Press and The New York Times, Munita is continually on assignment as witness to moments of tumult and poignancy. Last year, he received the second annual Getty Images and Chris Hondros Fund Award, conferred by his peers for finding the humanity and the emotion in these difficult visual stories. |
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ALLISON GILDERSLEEVE CYNTHIA-REEVES, The Barn @ 28 Main Street, Walpole, NH Extended through February 14
Allison Gildersleeve's latest exhibition is her third solo showing with the gallery, introducing new high chroma paintings that flirt with a recognizable sense of space and fragments of an understood landscape. Echoing and inspired by the formal languages of such contemporary painters as Terry Winters, Mamma Andersson and Amy Sillman, Gildersleeve continues to bend the landscape genre into a different language -- a painting language -- that takes history, memory, and time all into account and turns them into tangible elements of her landscape. Gildersleeve achieves this synthesis by playing overtly with the canvas' positive/ negative shapes, often beginning her paintings in black and white as she describes the clear shapes in each tangle of branches or the cross sections of stonewalls. The high density patterning serves a dual functionality: firstly, it flattens the painting, and puts the viewer's gaze on the warp and weft of her composition; and secondly, it provides the artist with the intricate lacework through which she can weave her high pitch of color. |
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Allison Gildersleeve's latest exhibition is her third solo showing with the gallery, introducing new high chroma paintings that flirt with a recognizable sense of space and fragments of an understood landscape. Echoing and inspired by the formal languages of such contemporary painters as Terry Winters, Mamma Andersson and Amy Sillman, Gildersleeve continues to bend the landscape genre into a different language -- a painting language -- that takes history, memory, and time all into account and turns them into tangible elements of her landscape. Gildersleeve achieves this synthesis by playing overtly with the canvas' positive/ negative shapes, often beginning her paintings in black and white as she describes the clear shapes in each tangle of branches or the cross sections of stonewalls. The high density patterning serves a dual functionality: firstly, it flattens the painting, and puts the viewer's gaze on the warp and weft of her composition; and secondly, it provides the artist with the intricate lacework through which she can weave her high pitch of color.
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