Our exhibition included work by Donata Benker, Philip Alden Benn, Sidnea d'Amico, Marilou Desmeules, Kathleen Elliot, Peter Foucault, Michelle Knox, Mark Leibowitz, Susan Longini, Lorraine Peltz, Kevin J. Pocock, and Lucky Rapp.
Showing posts with label Peltz. Show all posts
Showing posts with label Peltz. Show all posts
1.20.2012
We are at the Affordable Art Fair!
Los Angelenos welcomed the inauguration of the Affordable Art Fair with exhibitions by many of us, including Micaela Gallery + Project's Project 1:2012.
Our exhibition included work by Donata Benker, Philip Alden Benn, Sidnea d'Amico, Marilou Desmeules, Kathleen Elliot, Peter Foucault, Michelle Knox, Mark Leibowitz, Susan Longini, Lorraine Peltz, Kevin J. Pocock, and Lucky Rapp.
Our exhibition included work by Donata Benker, Philip Alden Benn, Sidnea d'Amico, Marilou Desmeules, Kathleen Elliot, Peter Foucault, Michelle Knox, Mark Leibowitz, Susan Longini, Lorraine Peltz, Kevin J. Pocock, and Lucky Rapp.
1.12.2011
Lorraine Peltz | LA Art Show 2011
Lorraine Peltz' work is a continuing discussion of feminine ideas in a fresh, beautiful manner in relation to place and identity. Her vernacular uses recognizable, highly charged images that explore women's fantasies and desires. Peltz' mimicry and reconciliation of how information comes to us and how meaning is made -- real life alongside memory, poetry next to prose -- become the landscapes of her exterior world and an interior space of dream, desire, hope, and memory. Images of chandeliers, among others, co-mingle the language of 17th century-esque still-life objects and pop imageries of lightening bolts, puffy clouds, painted lips, ominous blackbirds, and more. Peltz received her MFA from the University of Chicago. She lives and works in Chicago and teaches at the School of the Art Institute of Chicago.
IMAGE: Lorraine Peltz. Chandelier Blue, 2010. Oil and acrylic on canvas. 40 x 40 in. Singular.
10.30.2010
Winter Salon 2010 Opens Nov 2
Micaëla Gallery is pleased to announce the Winter Salon 2010 exhibition of artwork by artists Kathleen Elliot, Grant Garmezy, Scott Kildall, Mark Leibowitz, Silvia Levenson, Prema Murthy, Eugenia Pardue, Lorraine Peltz, and Nicole Schmoelzer. Opening with a private reception co-hosted by Leibowitz and Ruinart Champagne (a Louis Vuitton Moet Hennessy company), the exhibition presents work unified by ideas of extravagant beauty and thoughtful indulgences.
Images by California-based photographer Mark Leibowitz's portfolio, an ongoing series titled, "Backstage" will be featured collaboratively with Ruinart (LVMH) and Whitewall Magazine at his introduction to Art Basel Miami at the Betsy Hotel on December 2. Plan to read Whitewall Magazine’s post-Art Basel Miami commentary.
The Winter Salon 2010 opens for viewing November 2, 2011.
We're very excited that Mark Leibowitz joins us for the reception on Thursday, November 4, from 5 to 7.30 pm. We hope you will help us welcome him and discuss his globe-trotting work for the fashion avant garde and haute couture houses such as Vogue and Galliano.
You won't want to miss seeing Leibowitz’s exquisite images, so please mark your calendar now.
8.29.2010
Lorraine Peltz' State of the Art
In a recent interview with Sabine Modder of online design magazine MoCoLoco, Chicago-based painter and art educator Lorraine Peltz sums it up for most artists when she compares being an artist to breathing.MoCoLoco asked Lorraine the following questions:
Are you happy as an artist right now?
I would have to say yes, though I never really think in those terms. Being an artist is just what I am, and like breathing, it is an essential element of my life. It's one of the many roles I have, shaping how I see and interpret the world around me and all that I do. I have always felt very fortunate to be an artist, all my experiences seem to have come to me because of it.
Is this a time of growth for you?
The recession can still be felt everywhere, but you are still creating
wonderful work. How have you been affected?
Is making art working out? Do you need to have a day job?
I've taught at the School of the Art Institute of Chicago for the past 15 years, and have always taught in conjunction with being an artist. For me, teaching is more than a day job, really, it is another element in the artist equation. At SAIC I am surrounded by other artists, my students - young emerging artists, and my colleagues - some also young and emerging, others quite established. Each encounter is often another opportunity to further that creative dialogue. It's work, yes, a job, yes, and it takes me away from the studio, but it also gives me something back - I have always found it to be a good mix for me.
What do you think of the art world right now?
I see the art world as an exciting place where many ways of being an artist are possible and acceptable. The people I admire in the art world are those that find ways to continue to be inventive, productive, and excited no matter what the economic climate is. Who'll survive? Those who are in it for the long run.
Lorraine Peltz' painting was recently featured at SCOPE Basel 2010 with Micaela Gallery.
images (top to bottom): Portrait of the artist, Chandelier Green Stripe, Chandelier White.
4.25.2010
SCOPE Basel 2010
Delighted to announce we'll be presenting Micaela Gallery artists at SCOPE Basel 2010!
We look forward to an excellent fair and hope you'll join us for beautiful art, a warm hello and good conversation!
4.14.2010
Exhibition ends May 1
On May 1, Micaela Gallery's current exhibition, featuring paintings by Lorraine Peltz and Nicole Schmoelzer, and a multi-media installation by Silvia Levenson, will come to a close.The exhibition essay, written by Maria Porges, was placed online by ArtSlant, and is published in Peltz' exhibition catalog. Sabine of Art Moco, also wrote a short review, lightly referencing Lorraine Peltz' occupation with the feminine agenda in our daily conundrum.
Image: Lorraine Peltz. Chandelier Yellow, 2010. Oil and acrylic on canvas. 40 x 40 in. Singular.
2.21.2010
SILVIA LEVENSON, LORRAINE PELTZ + NICOLE SCHMOELZER
Opening 2 March
Reception 4 March
Exhibition through 1 May
SAN FRANCISCO, CALIFORNIA - 21 February 2010 (for immediate release)
Micaëla Gallery is proud to present "SILVIA LEVENSON, LORRAINE PELTZ + NICOLE SCHMOELZER," a multi-media exhibition showcasing artworks by three talented artists, Silvia Levenson (Italy), Lorraine Peltz (Chicago), and Nicole Schmoelzer (Switzerland), whose work takes a unique approach to issues of women's fantasies, ideas of beauty, and modern day living interpreted through mediums of sculpture, paint, and video.
Lorraine Peltz's recent paintings are complex ruminations on the nature of private identity and public persona. Using imagery culled from both personal history and the contemporary moment, they reference both past and present. The image of a chandelier conjures a remembered culture and the patterned flowers, starbursts, and decorative flourishes present the now - particularly women's fantasy and desires - through pure painterly pleasure.
Nicole Schmoelzer works with paint on linen and paper, developing a number of series whose topic is the very behavior of color itself. In Schmoelzer's paintings, the color yellow plays in important role. As she states, "...partly because it is extremely difficult to replicate, its presence an act of resistance to the age of mechanical (and digital) reproduction... It is also an evocative color with a wide range of associations, foremost of which, perhaps, is light: like sun breaking through, implying heat, energy, life."
Silvia Levenson's sculpture presents a dark and comic vision of modern home life, by re-fashioning house wares and pharmaceuticals in candy-colored glass. In her work, a standard IKEA chair with a kiln-cast seat is placed on a floor of fused, iridescent glass tiles, sandblasted with the names of common antidepressants. The pastel colors used by Levenson for the tiles convey a certain idea of calm and relaxation, in contrast to the names of medicines. In the background, there is a projected video piece, "Everything is OK," which she made with her daughter, Natalia Saurin.
Image credits:
Above left: Nicole Schmoelzer. Staining 1109-132, 2010. Oil on Linen, 70 x 60 in.
Above right: Lorraine Peltz. Chandelier Black, 2010. Oil and Acrylic on Canvas, 40 x 40 in.
Left: Silvia Levenson. Life Strategies, 2009. Installation: Glass, found object, video. 70 x 70 in.
A print exhibition catalog, PDF exhibition catalog, photographs and high resolution images are available upon request.
Opening 2 MarchReception 4 March
Exhibition through 1 May
SAN FRANCISCO, CALIFORNIA - 21 February 2010 (for immediate release)
Micaëla Gallery is proud to present "SILVIA LEVENSON, LORRAINE PELTZ + NICOLE SCHMOELZER," a multi-media exhibition showcasing artworks by three talented artists, Silvia Levenson (Italy), Lorraine Peltz (Chicago), and Nicole Schmoelzer (Switzerland), whose work takes a unique approach to issues of women's fantasies, ideas of beauty, and modern day living interpreted through mediums of sculpture, paint, and video.
Lorraine Peltz's recent paintings are complex ruminations on the nature of private identity and public persona. Using imagery culled from both personal history and the contemporary moment, they reference both past and present. The image of a chandelier conjures a remembered culture and the patterned flowers, starbursts, and decorative flourishes present the now - particularly women's fantasy and desires - through pure painterly pleasure.
Nicole Schmoelzer works with paint on linen and paper, developing a number of series whose topic is the very behavior of color itself. In Schmoelzer's paintings, the color yellow plays in important role. As she states, "...partly because it is extremely difficult to replicate, its presence an act of resistance to the age of mechanical (and digital) reproduction... It is also an evocative color with a wide range of associations, foremost of which, perhaps, is light: like sun breaking through, implying heat, energy, life."
Silvia Levenson's sculpture presents a dark and comic vision of modern home life, by re-fashioning house wares and pharmaceuticals in candy-colored glass. In her work, a standard IKEA chair with a kiln-cast seat is placed on a floor of fused, iridescent glass tiles, sandblasted with the names of common antidepressants. The pastel colors used by Levenson for the tiles convey a certain idea of calm and relaxation, in contrast to the names of medicines. In the background, there is a projected video piece, "Everything is OK," which she made with her daughter, Natalia Saurin.
Image credits:
Above left: Nicole Schmoelzer. Staining 1109-132, 2010. Oil on Linen, 70 x 60 in.
Above right: Lorraine Peltz. Chandelier Black, 2010. Oil and Acrylic on Canvas, 40 x 40 in.
Left: Silvia Levenson. Life Strategies, 2009. Installation: Glass, found object, video. 70 x 70 in.
A print exhibition catalog, PDF exhibition catalog, photographs and high resolution images are available upon request.
7.30.2009
7.05.2009
COLD+HOT 2009
It is very exciting to open COLD+HOT 2009, a comprehensive sculpture exhibition celebrating the use of glass as a fine art medium. In San Francisco, there is a particular excitement about opening an exhibition where the focus is glass. The San Francisco Bay Area is the birthplace of the West Coast glass movement, and home to many fine artists who work almost exclusively with glass as their medium of expression (as one artist emphasized in his statement, to say they are ‘glass artists’ is as much a misnomer as saying Leonardo da Vinci was a draftsman because he knew how to draw, or that Michelangelo was a mere marble artist, and Auguste Rodin and Camille Claudel were bronze artists just because they might, arguably, be known only for their sculpture). Prior to San Francisco’s M.H. de Young Museum opening of its Saxe Collection, the idea of glass as a sculptural medium wasn’t seriously entertained. In fact, many contemporary art critics and collectors continue to relegate the use of glass exclusively as a craft medium today. And so, the dialogue of glass as a fine art medium continues, with growing awareness that it is a fickle and demanding tool, evolving as a lyrical and sophisticated medium of artistic expression.
The inner circle of glass collectors is a small and surprisingly organized cognoscenti who followed the studio glass movement from the early1960s through its vision of contemporary art today. In the United States, they study the work of artists such as Marvin Lipofsky, Harvey Littleton, William Morris, Lino Tagliapietra, Mary White, and who hasn’t heard of Dale Chihuly? The inner circle includes curator Tina Oldnow, critics James Yood and (the late) Dan Klein, gallerists William Traver and Douglas Heller (and their eponymous galleries), as well as San Francisco’s own collectors and philanthropists, Dorothy and Gordon Saxe.
The focus of COLD+HOT 2009 is the material, glass. It is about glass as a medium of artistic expression, as sculpture. Most of the artists presented possess enviable academic credentials (BFA or MFA) with emphasis in glass, painting or sculpture. They studied form, light and space, and are masters of their medium whether it is blown, cast, engraved or laminated. Some of the artists focus on the form captured by the exterior planes of their sculpture, or the optics created by sculpting the exterior as well as uses of material to develop their artistic vision. Some of the artists are ‘outsider’ artists, who mastered their craft indirectly while working with the medium, and developed conceptual ideas iterated via glass. And, to mix it up, yes, we included two painters, who have no material relationship to the medium of glass. All the artists in this exhibition are fine artists.
Peter Bremers sailed away to the Antarctic a few years ago. His series, “Icebergs and Paraphernalia” is in direct relationship to the landscape and light he studied during his adventure. Eric Franklin’s anatomical forms don’t leave much to the imagination – here is a pair of hands, this is a rib cage, and these are a pair of feet. Skeletal, formed with borosilicate glass (commonly known as Pyrex), his combined use of lamp worked glass with neon and krypton gases is electrifying. Grant Garmezy grew up on a farm in Tennessee, and his childhood memories of long lost animal life continue to be a source for his award-winning sculpture. Phillip Hua’s expressive series “De/Construction” studies his recent experience in Beijing as light was obscured by atmospheric industrial waste. Michelle Knox continues to build her year of awards and scholarship with “Chorten Stones,” an imposing abstracted temple of blown glass and oil painted forms. Weston Lambert sculpts the interior of his works, laminates them, and sculpts the exterior in his preservation of fleeting memories. Susan Longini addresses the fragility of the passage of time; Greg Nangle celebrates the perfection of the imperfect; Nancy Otto shows us that some things, such as desire, can be larger than life; Lorraine Peltz addresses the feminine ideal and identity; Stig Persson studies the tension of interior and exterior spatial relationships, along with Chantal Royant; while Thomas Scoon turns to companionship and community with juxtapositions of glass and stone. Carmen Spera, deliberately shuns the title of ‘glass artist’ yet puns the term and material with laminated weaponry that lampoons the ongoing parallel fascinations of high fashion with violence. Jennifer Umphress celebrates the use of borosilicate glass with an ongoing dialogue of the natural world; Kristiina Uslar contrasts the extreme delicacy of pâte-de-verre with her sculptures of industrial shapes; and Sasha Zhitneva employs light to emphasize the painted forms of her kiln worked glass planes.
COLD+HOT 2009 celebrates the work of these artists with their presentations of cold worked (carved, engraved, polished) glass and hot worked (blown, cast, kiln fired) glass and painting (acrylic, mixed media, and oil). The premised material for this exhibition is glass presented within three basic ranges: borosilicate (the most heat resistant), soda glass (the most common), and lead glass (also known as crystal). The artworks employ all the classic and formal methods knows to sculpture, such as carving and lost wax casting, and in some cases, develop new methods to feature the lyrical and poetic qualities of light captured by glass. Many of the artists in COLD+HOT 2009 are prestigious academics and graduates, elite within their respective programs, some are gifted with continuous awards recognizing their work, while others enjoy the prestige of commissions at venues like the Waldorf Astoria and abroad. They are all, without question, fine artists with relevant ideas in step with today’s dialogue and social commentary, whose practice is presented with mastery and well-developed skill, and whose work is not only engaging, but beautiful and visually pleasurable.
The inner circle of glass collectors is a small and surprisingly organized cognoscenti who followed the studio glass movement from the early1960s through its vision of contemporary art today. In the United States, they study the work of artists such as Marvin Lipofsky, Harvey Littleton, William Morris, Lino Tagliapietra, Mary White, and who hasn’t heard of Dale Chihuly? The inner circle includes curator Tina Oldnow, critics James Yood and (the late) Dan Klein, gallerists William Traver and Douglas Heller (and their eponymous galleries), as well as San Francisco’s own collectors and philanthropists, Dorothy and Gordon Saxe.
The focus of COLD+HOT 2009 is the material, glass. It is about glass as a medium of artistic expression, as sculpture. Most of the artists presented possess enviable academic credentials (BFA or MFA) with emphasis in glass, painting or sculpture. They studied form, light and space, and are masters of their medium whether it is blown, cast, engraved or laminated. Some of the artists focus on the form captured by the exterior planes of their sculpture, or the optics created by sculpting the exterior as well as uses of material to develop their artistic vision. Some of the artists are ‘outsider’ artists, who mastered their craft indirectly while working with the medium, and developed conceptual ideas iterated via glass. And, to mix it up, yes, we included two painters, who have no material relationship to the medium of glass. All the artists in this exhibition are fine artists.
Peter Bremers sailed away to the Antarctic a few years ago. His series, “Icebergs and Paraphernalia” is in direct relationship to the landscape and light he studied during his adventure. Eric Franklin’s anatomical forms don’t leave much to the imagination – here is a pair of hands, this is a rib cage, and these are a pair of feet. Skeletal, formed with borosilicate glass (commonly known as Pyrex), his combined use of lamp worked glass with neon and krypton gases is electrifying. Grant Garmezy grew up on a farm in Tennessee, and his childhood memories of long lost animal life continue to be a source for his award-winning sculpture. Phillip Hua’s expressive series “De/Construction” studies his recent experience in Beijing as light was obscured by atmospheric industrial waste. Michelle Knox continues to build her year of awards and scholarship with “Chorten Stones,” an imposing abstracted temple of blown glass and oil painted forms. Weston Lambert sculpts the interior of his works, laminates them, and sculpts the exterior in his preservation of fleeting memories. Susan Longini addresses the fragility of the passage of time; Greg Nangle celebrates the perfection of the imperfect; Nancy Otto shows us that some things, such as desire, can be larger than life; Lorraine Peltz addresses the feminine ideal and identity; Stig Persson studies the tension of interior and exterior spatial relationships, along with Chantal Royant; while Thomas Scoon turns to companionship and community with juxtapositions of glass and stone. Carmen Spera, deliberately shuns the title of ‘glass artist’ yet puns the term and material with laminated weaponry that lampoons the ongoing parallel fascinations of high fashion with violence. Jennifer Umphress celebrates the use of borosilicate glass with an ongoing dialogue of the natural world; Kristiina Uslar contrasts the extreme delicacy of pâte-de-verre with her sculptures of industrial shapes; and Sasha Zhitneva employs light to emphasize the painted forms of her kiln worked glass planes.
COLD+HOT 2009 celebrates the work of these artists with their presentations of cold worked (carved, engraved, polished) glass and hot worked (blown, cast, kiln fired) glass and painting (acrylic, mixed media, and oil). The premised material for this exhibition is glass presented within three basic ranges: borosilicate (the most heat resistant), soda glass (the most common), and lead glass (also known as crystal). The artworks employ all the classic and formal methods knows to sculpture, such as carving and lost wax casting, and in some cases, develop new methods to feature the lyrical and poetic qualities of light captured by glass. Many of the artists in COLD+HOT 2009 are prestigious academics and graduates, elite within their respective programs, some are gifted with continuous awards recognizing their work, while others enjoy the prestige of commissions at venues like the Waldorf Astoria and abroad. They are all, without question, fine artists with relevant ideas in step with today’s dialogue and social commentary, whose practice is presented with mastery and well-developed skill, and whose work is not only engaging, but beautiful and visually pleasurable.
6.25.2009
Lorraine Peltz is back!
Newly returned from her travels (and exhibition) in Verona, visits to the Venice Biennale, and other glam European ramblings (jealous...), Lorraine Peltz in back in the USA launching her solo exhibition with her New York gallerist Cheryl McGinnis.
McGinnis' announcement states:
Lorraine Peltz’s paintings are complex ruminations on the nature of private identity and public persona. With imagery culled from both personal history and the contemporary moment, they reference both past and present.
The chandelier, a memory from her childhood home, is repeatedly employed in this body of work, as both a symbol memorializing her mother and nostalgically evoking a remembered culture. In bold contrast to her delicately painted or stenciled chandeliers Peltz depicts elaborate and brightly hued flowers, starbursts, and other decoratively patterned embellishments that create a dialogue with her often dark velvety grounds. Culled from popular culture, these reference the contemporary moment, and placed alongside the chandelier poignantly bring the
past and present together. Peltz joins diverse painting languages--recognizable imagery, signs and symbols, and painterly abstraction--to mimic how information comes to us and how meaning is composed, bit by bit, real life alongside memory, poetry next to prose, in order to suggest larger issues surrounding identity and place. Her works become dreamscapes of both the exterior world and an interior space of fantasy, desire, and memory.
In addition to being a title of a work in the exhibition, Then & Now refers to Peltz’s interest in and engagement with art history, specifically mid 20th century modernism and the Pattern and Decorative movement of the 1970’s, as well as with contemporary strategies of appropriating imagery from vernacular sources. In a recent essay on Peltz, Lisa Wainwright, Dean of the School of the Art Institute of Chicago, noted: “Both of nature and from culture, her icons speak to the polemic between essentialism and social construction that still grips feminist dis-
course. They are a mix of aesthetic delight and conceptual reading.”
Peltz' Selected Notable Exhibitions include:
Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art-Feminist Art Base.
Rockford Art Museum, IL, “ Pop Culture in Art at the End of the Millennium.”
Herbert F. Johnson Museum of Art, Cornell University, NY, “Uncommon Threads.”
New Bedford Art Museum, MA, “Small Paintings: Vault Series.”
Sullivan Galleries The School of Art Institute of Chicago, “Ah...Decadence!”
Cheryl McGinnis Gallery
555 Eighth Avenue, Suite 710
@ 38th Street
New York, NY 10018
Then & Now
Lorraine Peltz
June 29 - August 14, 2009
Opening Reception
Thursday, July 9, 6-8 PM
Cheryl McGinnis Gallery
We are pleased to conclude our 2008-2009
season with the work of Lorraine Peltz.
This marks Lorraine’s first solo exhibition
with the gallery.
McGinnis' announcement states:
Lorraine Peltz’s paintings are complex ruminations on the nature of private identity and public persona. With imagery culled from both personal history and the contemporary moment, they reference both past and present.
The chandelier, a memory from her childhood home, is repeatedly employed in this body of work, as both a symbol memorializing her mother and nostalgically evoking a remembered culture. In bold contrast to her delicately painted or stenciled chandeliers Peltz depicts elaborate and brightly hued flowers, starbursts, and other decoratively patterned embellishments that create a dialogue with her often dark velvety grounds. Culled from popular culture, these reference the contemporary moment, and placed alongside the chandelier poignantly bring the
past and present together. Peltz joins diverse painting languages--recognizable imagery, signs and symbols, and painterly abstraction--to mimic how information comes to us and how meaning is composed, bit by bit, real life alongside memory, poetry next to prose, in order to suggest larger issues surrounding identity and place. Her works become dreamscapes of both the exterior world and an interior space of fantasy, desire, and memory.
In addition to being a title of a work in the exhibition, Then & Now refers to Peltz’s interest in and engagement with art history, specifically mid 20th century modernism and the Pattern and Decorative movement of the 1970’s, as well as with contemporary strategies of appropriating imagery from vernacular sources. In a recent essay on Peltz, Lisa Wainwright, Dean of the School of the Art Institute of Chicago, noted: “Both of nature and from culture, her icons speak to the polemic between essentialism and social construction that still grips feminist dis-
course. They are a mix of aesthetic delight and conceptual reading.”
Peltz' Selected Notable Exhibitions include:
Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art-Feminist Art Base.
Rockford Art Museum, IL, “ Pop Culture in Art at the End of the Millennium.”
Herbert F. Johnson Museum of Art, Cornell University, NY, “Uncommon Threads.”
New Bedford Art Museum, MA, “Small Paintings: Vault Series.”
Sullivan Galleries The School of Art Institute of Chicago, “Ah...Decadence!”
Cheryl McGinnis Gallery
555 Eighth Avenue, Suite 710
@ 38th Street
New York, NY 10018
Then & Now
Lorraine Peltz
June 29 - August 14, 2009
Opening Reception
Thursday, July 9, 6-8 PM
Cheryl McGinnis Gallery
We are pleased to conclude our 2008-2009
season with the work of Lorraine Peltz.
This marks Lorraine’s first solo exhibition
with the gallery.
2.11.2009
Lorraine Peltz
Lorraine Peltz' exhibition, Pleasure Paintings, along with works by Phyllis Bramson and Keer Tanchak, opened at the Elmhurst Art Museum this Sunday. Lorraine's paintings are complex ruminations on the nature of private identity and public persona. Using imagery culled from both personal history and the contemporary moment, they reference the past and the present. Chandeliers conjure a remembered culture, patterned stylized flowers, starbursts and decorative flourishes represent fantasy and desire, hidden but visually constant as socially acceptable feminine icons of sheer pleasure. Lorraine is also a newly awarded Illinois Arts Council International Travel Grant recipient, and will use the award to travel to Italy thissummer for a small show at at art space in Verona.
11.24.2008
Bridge Art Fair|Miami Beach 2008
 | DECEMBER 4-7, 2008 Catalina Hotel, Room 124 1732 Collins Ave., Miami Beach |
 Micaëla Gallery presents the work of Gerald Cannon, Peter Foucault, Scott Kiernan, Scott Kildall, Taliaferro Jones, Jenna North, Lorraine Peltz, Tobias Tovera, Anne Yalon and David Yun at Bridge Art Fair|Miami Beach 2008 from Dec 4 through Dec 7. Read more...Current Exhibition Previous exhibition: Stig Persson | The Big Silence: works 2003-2008 Fairs: SOFA Chicago 2008, Bridge Art Fair|Miami Beach 2008 Gallery Calendar Exhibition catalogs are available for purchase. | |
9.04.2008
Lorraine Peltz...news!
I received an email from Lorraine Peltz the day before yesterday with images of new work (so exciting!). She writes that fall has arrived in her hometown of Chicago and sent compliments for our new exhibition for Stig Persson. Thank you, Lorraine! She also wrote we have a strong group of artists, although we strive for that...it is a good thing to hear from the perspective of another artist. I hope you agree, and hope you follow this blog and what I write about them.In terms of Lorraine's work, her work is included in two exhibitions opening this Friday (tomorrow) in Chicago, "Chicago Verge: Points of Departures (drawings)" at I Space, and "Ahh.. Decadence!" at SAIC Sullivan Gallery. I Space has a nice brochure with reproduction and there will be a catalogue for the SAIC show. Congratulations, Lorraine! I hope the show is a huge success!
Yes, it's easy to speak warmly of artists who are warm in return, and always, always a pleasure (there is something immensely satisfying in the knowledge that one's effort and work is appreciated). Please let me know anything you want about my work and the artists and gallery I represent, but to let you know...I get a lot (tons) of email, I do read it all, and some of it can make or break my day, consequently, I'm kind of selective about replies...
8.22.2008
Lorraine Peltz
Lorraine Peltz is a painter, not a glass artist! What's her work doing in our current exhibition, COLD+HOT 2008?! Good question...I struggled with that for a few weeks, actually, since I met her in Miami last year when her work was shown at the Art Now Miami Beach Fair by her Chicago gallerist. There is something immensely appealing about Lorraine's work. To begin, her use of saturated rich color draws the viewer quickly in, and before you know it, your eye is wandering all over her canvas like a lustful Casanova. Lorraine's work, using varying depths of field, is alluring and demonstrates sophisticated painterly knowledge in its deliberate engagement of the viewer's visual pleasure. Really. As one of the satellite exhibitors to the gargantuan Art Basel|Miami Beach throng, competing with massive shows of highbrow and lowbrow art, Lorraine's work and her gallerist's exhibition enjoyed a steady flow of visitors drawn in to her paintings. The imageries seem simple... Painterly sketches of chandeliers floating on a brightly hued canvas with cartoon conversation call-outs rising from a low corner. Makes me think of a party someplace fancy, lots of sparkling chandeliers above, it's evening, lots of beautiful people, conversation at a low, steady hum...nice...love the painting. Gotta have it.I loooove Lorraine. Seriously. Her enthusiasm for her work is infectious, and translates to fine work and sophisticated messageries. Her work is easy on the eye, containing lovely references to her own feminist (and feminine) aesthetic. Feminist? Okay, here's where I tend to slip off the boat...I'm not a feminist, although I'm unquestionably old enough to join the geriatric generation that stormed corporate America with shrill demands for "equality"...and let's save that discussion for another day. The point is, Lorraine believes her work addresses continuing feminist dialogue. Who am I to argue? I do agree with deeply feminine aspects of her work, its sparkly allegory, rich hues, embrace of community and development of society. Her work reminds me how my mother's search for beauty was constant and commanded respect. It reminds me that design trades largely run by men are marketed to women. It tells me that in truth, it's the feminine gender that make the rules for how we live, what we live with, and who we allow to form these rules.
Lastly, I didn't tell you she's a studio art professor at the School of the Art Institute of Chicago. She's is, and what a heavyweight she is there too, with enough accolades, grants, reviews to give any grad school newbie a daunting challenge. Currently enjoying a restrospective exhibition of her work (from 1993 to 2008) at the Munster Center for Visual and Performing Arts, and looking forward to several exhibitions (Italy, Miami, San Francisco) in 2008, Lorraine Peltz is a woman, an artist, and an intellect to keep your eye on.
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