Ziagallery

The Concerns Of Richard Laurent

john — Tue, 08 May 2012 19:53:48 +0000

As with many of our other artists Richard Laurent is deeply concerned about man’s impact on the world around him. Through his precise renderings Laurent has lovingly composed images both fanciful and at the same time very poignant. His paintings are at first glance expressive in application, but examined further the viewer cannot help but be captivated by his highly adept technique. It is this duality Laurent possesses that is so intriguing.

ZIA Gallery is proud to showcase paintings by artist Richard Laurent. Laurent grew up on the edge of American wilderness in Denver, Colorado. He came to Chicago to study printmaking and soon began to work as a designer. After years of working as the creative director for Encyclopedia Britannica Films he decided to pursue his true passion, painting. Laurent then set out to study the paintings of great masters such as: Turner, Van Eyck, and Courbet. From these great masters he extracted a language of brushstrokes and a love for technique.

Laurent seems to ask much from the viewer. What is man’s place in nature? Has man removed himself so far that he now has no place in it? To Laurent the chair is a metaphor for our attitude towards nature. The chair represents both our distance and our refuge from nature. It has become our temple and our marketplace. It is from our chairs that we impact the world and from our chairs that we make the decisions that will change it for better or worst.

Richard Laurent has shown his paintings at Oil Painters of America national exhibitions since 2004. He mounted a solo show at the Fine Arts Building Gallery in Chicago under the title, “Heavy Petting– The Painted Animal.” That same year at the National “Animal in Art” Exhibition, juror Ed Paschke awarded his painting “Best of Show in Oil Media.” In 2006, he mounted another solo exhibition at FAB Gallery entitled “Beauty & Beast.” Artscope.net reviewed the exhibition in a visual essay exploring definitions of classical beauty. His painting “Swimming” is in the permanent collection of Illinois Institute of Art. Recently, he was commissioned to paint a large, two-panel painting for Wachovia’s corporate office. In addition he was commissioned for two large oil paintings for the Schaumburg Convention Center.

The Recontextualized Art Of Tim Liddy

john — Tue, 01 May 2012 15:59:57 +0000

Who says art can’t be fun? Tim Liddy whose artistic roots can be traced back to the Midwest, has presented us with a unique take of our childhood pasts. His current artistic endeavors are based on the illustrated box lids of vintage board games. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips, stain and tears, even the scotch tape that might be holding the cardboard box together, all accumulated from years of usage. Even the tactile feel of each piece resembles one of the original game boards we use to or still play with. Down to the feel of the tape one would use to keep these box lids together is an exemplary attribute of these amazing artistic pieces. Is it real tape, or layers of medium to make it look like tape? It is Tim’s pain staking efforts that make the “tape” look real. Each piece looks like an original box lid, yet closely inspected one is in awe of the artistic endeavor that went into creating each painting. ZIA currently has several pieces of Tim’s work at the gallery. They need to be seen in person to fully appreciate these exceptional creations.

The Curious Amalgam Of Anne Hughes

john — Thu, 26 Apr 2012 13:35:38 +0000

Some people plot out every move whether in life or in art. Anne Hughes is not one of those people. Her life and art is a journey of twists and turns where she takes advantage of an opportunity, a gesture or serendipitous coming together of color and marks from which she jumps into an adventure. Born in Canada of American parents, Hughes grew up outside of Montréal, Québec. Exposure to cultural diversity, along with curiosity and fascination in subjects from geography, literature, nature and the environment and, of course, art led to an early realization that art is a means to explore any interest. She received a BFA from Concordia University in Montreal and embarked on a short archeological stint in California. Then a number of artist residency fellowships and the Brucebo artist travel scholarship allowed her to continue to explore her art and other areas of the world. Graduate School in Illinois and Ohio led to MA and MFA’s in art and unforgettable studies in Bali. All along she has exhibited in Canada and the States. Hughes now makes her home in the Chicago area although still not rooted there. Her work is based in painting, drawing, sculpture and amalgamation of the three. This can be seen in her current showing at ZIA Gallery.

Anne Hughes’ assemblages feature a jubilant expression of life, as she seeks “to evoke the wonder and precarious state of our interconnectedness.” Continental Drift, an impressive shadowboxed polygon, contains a juxtaposition of sharp and soft nature-inspired elements where irregular green flames of swirled glass along with painted-Masonite contour forms rise and descend outside the frame. The multi-dimensional piece captures the complexity of life and relationships between humans and nature. Continental Drift features several unique uses of materials including glass tubes of varying widths and lengths each topped with a marble. The merging of hemispheres, represented in undulating forms of cool and warm colors reminiscent of jet stream winds, is punctuated by a humanlike figure diving right through the center of the piece. A fantastical universe of events unfolds as if recreating a dream sequence of one of life’s definitive moments, such as birth or death. Hughes establishes a continuity that holds all the pieces together and promises richer levels of understanding upon repeated viewings. Hughes inspires awe and curiosity. The duality of life presented in Continental Drift provides a stimulus for viewers to consider relationships in their own life. Bringing a sense of beauty and grace to the unyielding truths of life is no easy task, yet Hughes does exactly that as Continental Drift acts as a mirror for the self. This is quite a significant accomplishment, and worthy of attention and consideration within and far beyond gallery walls.

The Vibrant Nature Of Fumiko Toda

john — Mon, 23 Apr 2012 13:36:34 +0000

Japanese artist Fumiko Toda has recently joined our family of artists here at ZIA|Gallery. Ms. Toda grew up in a rural community outside of Kyoto and is a graduate of Kyoto University of Art and Design. In 2001 she moved to New York City, where she studied painting with Sonia Gechtoff, figurative drawing with Costa Vavagiakis and printmaking with William Behnken and Kathy Carraccio at the National Academy of Fine Art through 2007. Toda moves seamlessly between the realms of painting and printmaking and has exhibited her work extensively. Her paintings and prints have an obsessive quality of intricate detail, repetition of forms and patterns, all rendered with colors so vibrant, as to appear as if they were ground from pure minerals and substances found only in nature, or in the insects themselves. She eschews sketching and reference materials, etching directly onto zinc plates, applying complex techniques, such as chine colle and a la poupee. Toda attributes her sense of design, space and line to her years in Japanese art schools, such skills and craftsmanship are emphasized. Recent solo and 2 person exhibitions include “Recent Painting” in 2012 and “Illuminated & Adored” in 2010 at Susan Eley Fine Art and “Recent Insects” in 2009 at the Safe-T Gallery, NYC. Group exhibitions include Matrix to Impression: Contemporary and Modern prints at Madelyn Jordon Fine Art Gallery, NYC and The Second Bangkok Triennale International Print and Drawing Exhibition, Thailand. In 2008, Toda participated in the 183rd Annual An Invitational Exhibition of Contemporary American Art at The National Academy Museum, NYC.

Farrell Sells Out In Tokyo

john — Tue, 17 Apr 2012 14:25:24 +0000

Artist Holly Farrell, whose recent exhibition in Tokyo rapidly sold-out, is worth further attention. Through her skill and preoccupation with realistic detail, Holly has a knack of turning an inanimate object into narrative. One wonders at what quiet dramas a plush velvet chair has seen. Farrell chooses a spare composition in which the subject speaks of a life. With Farrell’s Chair and Lamp paintings there’s something Hopper-esque about the world they inhabit- a lonely, bygone era. Yet, they feel of this time. With a more conscious examination of the works, one marvels at Holly’s skill in manipulating paint to depict, say, the velvetness of velvet. Holly speaks of her dogged determination to “get it right.” And that she does. In her handling of paint and the straightforward presentation of her subject, she shows the ability to evoke nostalgia without stooping to saccharine flourishes. The relationship of subject to background alters the mood. One smiles at a subtle juxtaposition of ski-doo cap and choice of wallpaper design. Currently, you will see three of Holly’s works on view at ZIA Gallery. Don’t miss a chance to appreciate her work in person, because, as her Tokyo exhibition demonstrates, Holly Farrell’s art is going places!

Collecting And Displaying Art

john — Thu, 16 Feb 2012 20:26:21 +0000

What type of art do you like? Modern, impressionistic, mixed media, photography, sculpture, etc. Most of our gallery visitors are a bit stumped by that question.

Michael Cutlip: Recycled 24 x 24 Mixed on Panel

A blank look tends to waif over their faces when asked the question. Most gallery visitors unfortunately are looking for a piece to compliment their interior décor. Does it match the paint in the bedroom? Would it fit perfectly above the fireplace mantle? It’s too small, or it’s too big may follow the comment about matching colors to the wall. Price is always a consideration, and for some price is equated with the size of the artwork. Some consumers equate price of an art piece to the size of the work. Larger pieces cost more, while smaller ones cost less. At his point we’re ready to pull our hair out. In my opinion the best way to buy art is to buy what you like when you see it for the first time. Your instinct will never fail you.

We’re always delighted when a collector visits. Collectors are looking at the artwork. They appreciate the work and effort that goes into creating the piece.

Carl Wilen: Dreams For Sale 14.5 x 15 oil painting

They normally do not buy to match the color of a wall, or to find something that fits the wall they are trying to over. Collectors follow an artist or gallery, and look for something they can appreciate and intrinsically value. Showcasing the artwork is the last thing on their minds. They may have the homes or offices that allow for creating a gallery experience, or they may just hang artwork on every conceivable flat surface in their living space. It’s not so much about the presentation, but showcasing the variety of work they love to collect to anyone that visits them. Art is to be shown and appreciated, no matter how you like to hang it. Keep that in mind the next time you visit us.

Photographer Dulce Pinzon

john — Tue, 31 Jan 2012 02:57:12 +0000

Occasionally we come across an individual whose personal art transcends beauty and creates a commentary on society. Dulce Pinzon is such an artist. ZIA is excited about presenting her work and vision to our gallery friends. Her last personal project focused on the plight of Hispanics working in the U.S. Her use of costumed super heroes brings attention to the difficult working conditions these individuals face on a daily basis. This personal project resonated with collectors who quickly snapped up her work. This project is sold out. Ms. Pinzon is a photographer whose work has appeared in numerous magazines and newspapers, including Esopus, Marie Claire (South Africa and Thailand editions), Mother Jones,  Rolling Stone (Italian edition), Vice, The New York Times, The Guardian, The Washington Post, La Jornada (Mexico), Reforma (Mexico), and El País (Spain). Her work has been exhibited published, and collected internationally.  In 2001, her photos were used for the cover of La otra historia de los Estados Unidos, the Spanish-language edition of Howard Zinn’s A People’s History of the United States. In 2002 she was awarded the prestigious Mexican Jóvenes Creadores grant. In 2004 she won first prize in the two-dimensional category at the fourth Encuentro Estatal de Arte Contemporáneo in Puebla. In 2006 she won first prize at the 12th Photography Biennial of the Centro de la Imagen in Mexico City. In 2009 Ms. Pinzon was a fellow at the New York Foundation for the Arts, and she also received a grant from the Ford Foundation in the same year. She has studied photography at the International Center of Photography in New York City. She currently resides in New York City. To say the least we’re looking forward to exhibiting her work.

Photo Credit: Dulce Pinzon

Public Art

john — Mon, 09 Jan 2012 20:17:59 +0000

Public art has been with us since man first drew on cave walls. It is an important aesthetic contribution to the public welfare. It supports communities in a manner that cannot be easily quantified. Public spending on community art projects has seriously eroded since the Reagan years. Federal, state, and local spending have been curtailed in supporting the arts in general. Public art provides a respite from the daily grind. Driving or walking within communities that provide installed art throughout a village or city makes for a more enjoyable daily experience. It can provide an opportunity for young and established artists to exhibit their work in a public venue, that not only helps an artist out, but provides a visual object that generates public discourse, be it positive or negative – it connects people to a place and a broader sense of community. ZIA supports such efforts on the part of the artist we represent. Rolland Kulla has had his work displayed at Willis Tower in Chicago, and has just been asked to have his work shown at Fermi Laboratories. Deanna Krueger has seen her work shown throughout the city of Chicago in hotels and office buildings. Photographer Clyde Butcher’s work can be seen at the Ft. Lauderdale airport. His large-scale images grace the concourse. This is all good for the artist and the general public. More artists need their work shown to the public. A gallery can do so much, but a public showing improves the visuals in our society and it needs to be brought back to the forefront of public policy. Supporting the arts supports an important part of society. It feeds it in a manner that is entirely different from the everyday regimen of survival. It makes living in a place that much nicer.

Photo Credit: John Vlahakis

Collecting Photographs

john — Mon, 26 Dec 2011 16:53:55 +0000

Each individual has there own opinion and taste when it comes to fine art. Deciding if the art you are viewing appeals to you or not is quite the subjective experience. Collecting art on the other hand depends on a variety of factors. Some collectors follow an artist as they grow, some follow what certain art magazines say which artist is hot or not, and some hire a curator to tell them what they should buy. Buying an original piece is a guarantee that you will be the only person in the world to own it. Photography, and some fine art are faced with different market considerations. Some fine art is produced in limited editions. Most fine art photography is produced in limited editions as well. There are certain photographers that will sell an original piece, but the majority tends to sell in editions. Editions can range in size from one of two, to one in 1000, to even open ended editions. As a fine art photographer I collect and produce only small limited editions. To me the value in collecting fine art photography is at the low end of limited editions. Personally, I only produce a maximum run of five prints, and on my larger works I limit the edition to two. And when I purchase a piece from another photographer I admire, I do not seek out editions that are greater than seven. The smaller the edition, the greater the value the work will retain in the long run. ZIA only represents photographers that keep their editions on the low end, to ensure future value appreciation for those that purchase the work. Once an edition is sold out the negative, or digital file is destroyed to prevent the creation of future editions. This ensures the art works future appreciation, and for the photographer, a lasting knowledge that our work will never be replicated by future generations.

Photo Credit: John Vlahakis

Miami Basel End Notes

john — Wed, 07 Dec 2011 15:09:49 +0000

Art Now Miami came to a close on Sunday December 4^th. Four days of non-stop activity centered on our world of art.

Waiting In Line

Artists, collectors, gallerist’s, and the general public all came together for four days in Miami and Miami Beach. Every night there was some party going on somewhere at one of the multiple art venues. Our own Art Now venue had back-to-back evening cocktail parties that extended the fair hours. Celebrity sightings were common. Joan Allen and the House Wives of New York City all came through our space, with Ms. Allen asking for additional information on several of our artists. The Housewives were strictly gossiping about each other, as their camera crew filmed them going through Art Now.

NADA

Attendance was steady and with each successive day the quality of art fair attendees seemed to improve. Art Now was a new fair addition to the Miami landscape, and though it wasn’t as busy as the other fairs, it seemed to bring attention to the galleries there. We most likely will not repeat at Art Now next year. ZIA will look to attend one of the other fairs next year, as attendance and buying activity seemed stronger at the other venues. We did plant the flag in Miami for the first time, and we did make connections with buyers from around the U.S., even arranging for one artist to be considered by corporate giant Microsoft’s Gallery curator. And we did sell art too!

ZIA

Attending an exhibit such as this was time consuming and taxing for the ZIA staff, not only for those who went, but also for those who stayed behind and kept the doors open at the gallery. Despite the difficulties in pulling off such an event, ZIA will look to attend other art fairs in 2012, with an eye toward building the gallery and artists we represent to the collecting art world. In the mean time we’re posting additional images from the four days for your consideration.

Collins Avenue

NADA

Aqua

Photo Credits: John Vlahakis