Yigal Ozeri, Israeli, born 1958. Untitled; Cristal, 2018. Oil on canvas, 61 × 110 in. Collection of the Artist, NJ. 

​Brush with Reality: Yigal Ozeri

September 25, 2021 - January 2, 2022

Henry Gallery Hodge Gallery

Based in New York City, Yigal Ozeri is an Israeli artist best known for his meticulously crafted large-scale images of women in landscapes. These works have the appearance of photographs, but they are actually paintings. In varying degrees, painters have been using the camera or photograph to inform their work since the medium was invented in the mid-19th century. Initially the use of the camera was disguised or alluded to only in stylistic terms. In the late 1960s, however, artists in California and New York began to deliberately reference the photograph in their works by making the paintings look exactly like a photograph, re-creating sharp precise details, alongside fuzzy, out-of-focus elements. This movement in art is called Photorealism.

In the 21st century, Yigal Ozeri is taking Photorealism in new directions. In his choice of subject matter, he employs intricate, realistic brushwork to create a narrative that blurs the lines between what is real and what is fiction. He uses the medium of digital photography and processes the image on a computer until he arrives at the desired image, which he then carefully creates on canvas using a brush and paint. Brush with Reality offers highlights from the last decade of Ozeri’s works, from his first depiction of Priscilla in the jungles of Costa Rica in 2007 to his latest series that captures people on the streets of New York City.

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Takeshi Murata, American, born 1974. Melter 2, 2003. 3:50 minutes. Courtesy of Electronic Arts Intermix (EAI), New York

Melter 2

September 1, 2021 - September 30, 2021

Media Arts Gallery

Takeshi Murata creates digital works that refigure the experience of animation. His innovative practice and constantly evolving processes range from intricate computer-aided, hand-drawn animations to exacting manipulations of the flaws, defects, and broken code in digital video technology. Whether altering appropriated footage from cinema, or creating Rorschach-like fields of seething color, form, and motion, Murata produces astonishing visions that redefine the boundaries between abstraction and recognition. In Melter 2, Murata has used image-making software to create a fluid, ever-changing scene. Exploring formal tropes of melting, rippling, and bubbling, Murata’s abstract experiment in hypnotic perception is at once organic and digital.

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Bo Bartlett, American, born 1955. Serena Sleeping, 2014. Graphite on paper. Framed: 23 x 26 1/2 in. (58.4 x 67.3 cm). The Collection of Bo Bartlett and Betsy Eby

Bo Bartlett: Forty Years of Drawing

July 17, 2021 - October 3, 2021

Graphics Gallery

This exhibition presents graphite drawings and gouache paintings spanning 40 years of Bo Bartlett’s career (from 1976 to 2016). Bartlett is an American realist with a modernist vision, and his artwork celebrates both the commonplace and the extraordinary. According to Bartlett, “The purpose of art is to wake up—to wake up to the numinous now, to the great unfolding of the mysterious universe that we are one with.” These works reveal an intimate peek into a side of the artist’s life and oeuvre that is rarely seen by the public. The works in this exhibition, created as studies for his paintings, are an inside look into the artistic process—and are themselves individual works. Educated at the Pennsylvania Academy of the Fine Arts, Bartlett pushes the boundaries of the realist tradition with his multilayered images. Family and friends are the cast of characters that appear in his dreamlike works, some revealing intimate scenes between two people and others singular portraits.

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Bing & Grøndahl, Danish, founded 1853. Vase, 1899-1900. Porcelain, 14 15/16 × 7 1/16 in. (38 × 18 cm)

Art Nouveau Innovation: Danish Porcelain from an American Collector

June 12, 2021 - November 28, 2021

Ann K. Walch-Chan Gallery

This exhibition features 75 ceramics from Danish porcelain companies Royal Copenhagen and Bing & Grøndahl. Each object represents the art nouveau style that flourished in Denmark from the late 1880s until the First World War. At this time, artists were heavily inspired by the natural world as well as Japanese culture. This period was also a renaissance for Danish porcelain, marked by technical and artistic innovations. One of the most important technical shifts of the period was the focus on underglaze painting, where paint is applied to fired, unglazed porcelain surface using either a brush, sponge, or airbrush. The object is then glazed and re-fired. Royal Copenhagen’s director, Arnold Krog felt this method highlighted the intrinsic beauty of the porcelain so their chemists developed new underglaze colors that could withstand the high firing temperature. The company’s biggest domestic rival, Bing & Grøndahl, adopted the process of underglaze painting after they hired Frans Hallin, a former Royal Copenhagen signature artist.

This exhibition is organized by the Museum of Danish America, Elk Horn, Iowa. 

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