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Sculptors Guild

CURRENTLY 80 : Celebrating 80 years of The Sculptors Guild

Sculptors Guild

Show Dates February 5 – February 24, 2017
Opening Reception: Sunday February 5h 1pm – 4pm
Closing Reception: Friday Febrary 24th 6pm-8pm

Gallery Hours: Wednesday – Sunday 1pm – 6pm

The Sculptors Guild celebrates its historic 80th anniversary with an exhibition curated by distinguished poet and critic John Yau at Westbeth Gallery in the West Village from February 5-24, 2017.

The Sculptors Guild is a collective of contemporary professional sculptors “…looking to have the freedom to make and show work within a community that supports and encourages their practices. A rare feat in a world full of the detritus of pop culture and commodity-driven creation”, writes Brienne Walsh, art critic and historian.

Curator, John Yau, will be curating signature works by current Sculptors Guild members alongside historical pieces from the Guild’s collection. Works by founding member Chaim Gross as well as pieces from the Renee and Chaim Gross Foundation, including drawings by member Louise Nevelson will be exhibited.

The founding of Sculptors Guild in 1937 was a seminal event for modern sculpture in America. Its members were at the forefront of American Modernism especially in their openly expressed rejection of the staid conventions. The result was an esthetic paradigm shift that would have significant impact on the international art scene during the years of reconstruction following the global devastation of WWII.

The primary objectives of the founders as stated in an early exhibition catalogue were: “to unite sculptors of all progressive aesthetic tendencies into a vital organization in order to further the artistic integrity of sculpture and give it its rightful place in the cultural life of
this country.”

Sculptors Guild is a not-for-profit organization based in New York City with a professional membership of acclaimed international sculptors of diverse esthetics. Our mission is to promote, encourage, and serve as an advocate for sculpture and to make contemporary sculpture a relevant part of the cultural experience.

SCULPTORS GUILD INC FOUNDED IN 1937 is a 501c2 Artist Collective

For further info: contact sculptorsguild@gmail.com

KARIN BATTEN HOT SPOTS FOR WEB

HOT SPOTS
Brooklyn, New York, Zurich

KARIN BATTEN HOT SPOTS FOR WEB

HOTSPOTS
BROOKLYN, NEW YORK, ZÜRICH

>URBAN LANDSCAPES BY

Karin Batten, New York

Ralph Raphael Fleming, Brooklyn

Eugen Meier, Zürich

Josette Urso, Brooklyn

WESTBETH GALLERY

55 Bethune Street Gallery Hours: Wednesday-Sunday
New York, NY 10014 1pm – 6pm

Show Dates: March 31st-April 15th
Reception: March 31st 6-8pm

The artists in this diverse group share a lineage to 1990’s Switzerland with their connection to the artist Fred Engelbert-Knecht who ran Galerie A-16 in Zürich. Karin Batten, Eugen Meier and Josette Urso had solo exhibitions at Galerie A-16 and Ralph Raphael Fleming joins the extended family via Al Loving. Each artist also shares unique impressions from their immediate urban environment. Working with abstraction and representation, these artists reveal stories of city life through their involvements with the urban setting.

Karin Batten explores the city from unique perspectives and vantage points. Witnessing the city from above, she sees the cohesive unit of the fragmented city emerge. Using oil sticks she constructs deep textures that capture the magnificence of New York City’s skyline and terrain.

Ralph Raphael Flemming
creates intricate collages from urban billboards and commercially printed advertisements. Although his process involves the tearing, cutting and manipulating of found paper, he refers to his pieces as “paintings”.

Eugen Meier is an architect and painter currently living and working in Zürich and the South- West of France. His city-reliefs, made with remnants of paper, plywood and iron are cut, painted and polished and reference the tangled flow of city streets, railway connections and skyscrapers.

Josette Urso makes paintings, drawings and collages. She sees the city less as a series of architectural forms and more as a living, breathing entity – literally a buzzing environment made up of layers upon layers of human history and mystery.

SANDRA CAPLAN Adriatic, 40'X32_, O_L, sandra caplan 2014

Sandra Caplan: Paintings Part Two

SANDRA CAPLAN Adriatic, 40'X32_, O_L, sandra caplan 2014

My past and recent work explores the possibilities of the still life, that is, the same and similar subjects, flowers, fruit and vegetables, photos, objects, placed on vividly colored and patterned fabrics. The still life is often set against an open sea view or landscape, near the shade of a palm or placed on a table top within the studio. An accent of a drape or architectural reference is incorporated at times, referring back to visual details found in favorite paintings or to the memory of a place. There is this reference to a landscape or city view depending on where the work originated.
These compositions offer a complex formality that is the culmination of acute observation, heightened by a painterly approach and highly developed color sense.

For further information please refer to the website: www.sandracaplan.com
or contact the artist at sandrray@gmail.com

poster-2017-david-secommbe

David Seccombe: Wall to Wall #25

poster-2017-david-secommbe

After 43 years of working in the same West Village basement studio, what do you do when Sandy comes and wipes it all out? If you are David Seccombe, you paint on your dining room table, planning new pieces. You borrow time in a friend’s studio, cut out modular segments and make a wall-to-wall sculpture that looks like it was built in a big barn.

David says, “When you make a painting you use the whole format, from side to side; that’s what I do in sculpture.” His latest work, which spans the Project Room from side to side, is the third installation he has made for this site, but just one of the scores of drawings and elevations in his growing archive of ideas.

David Seccombe’s first sculpture exhibit, in 1961 at the Brata Gallery on 3rd Avenue and 10th Street, featured a large metal piece which hung from the ceiling. In the half-century since then, his work has been shown across the country and internationally, with support from the National Endowment for the Arts, the Pollock-Krasner Foundation, N.Y.F.A., the Adolph & Esther Gottlieb Foundation, and others.

A Westbeth “pioneer” he and his family moved in while the cement was still fresh on the stairway in their apartment. Many of his older pieces are familiar features of our courtyard landscape.

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Early Childhood Puppet Theater: Penny Jones & Co THE CIRCUS AND SEBASTIAN

penn-y-jones-puppet-show-winter-season

NOW Saturday and Sunday Shows!

A puppet ballet to the rollicking music of Kabalevsky’s symphonic suite, The Comedians. Sebastian, a park attendant, yearns for a job with the Circus. But the lion roars at him, the horse throws him, the elephant sits on him and the ballerina snubs him. He is fired and despairs until a circus dog teaches him the art of tightrope waking.

“An utterly charming and exquisite show. The puppets are glorious” -Gannet Newspapers

“Delightful ”
– New York Magazine

​“It’s a charmer”
– WNYC
DATES:
Saturday January 21st
Sunday January 29th
Saturday February 18th
Sunday February 26th
Saturday March 4th

TICKETS ON SALE NOW AT www.pennypuppets.org
or CASH ONLY at the door 30 minutes before the show
Tickets are $10 for all ages
Show Times: 11 AM & 2:30 PM
All Ages – Great for 3 to 8
Stroller Parking
Shows Run about 45 Minutes
Information: (212) 924-0525
www.pennypuppets.org

Where: Westbeth Community Room 155 Bank Street New York, NY
(enter through Bank Street courtyard).

BUS AND SUBWAY: M14A, M11, M20, (2 blocks)
A, C, E, L, 1, 2, 3 (5 or 6 blocks)

“A Child’s first experience with theater is important and forming. Quality counts.”
Penny Jones

PENNY JONES & CO. PUPPETS has been a mainstay of children’s theater in New York since the 1970’s. The company specializes in informal puppet shows for children aged three to eight, and puppet ballets with live music for audiences of adults, children or both. The company performs in collaboration with chamber ensembles and orchestras. The repertory includes adaptations of classical works as well as original stories and scores. In schools, the company has performed hundreds of times, and Penny has a wide variety of programs from puppet pageants with a cast and crew of 30 to 90 school children, to workshops for small classes, and Penny’s “One on One” – interweaving puppetry, storytelling, movement and arts.

The company has appeared on television, in the Henson International Puppet Festival at the Public Theatre, The Metropolitan Museum of Art, at BAM with the Brooklyn Philharmonic, at City Center, Avery Fisher Hall, and in museums including The Museum of the City of New York, The Children’s Museum of New York, the American Museum of Natural History, at Emelin, Wave Hill, the Washington Square Music Festival, at venues from Macy’s to Barnes & Noble, and with orchestras at Bargemusic, Casa de España, Greenwich House Music School, with the New Jersey Symphony, out on the Hudson Piers, up on the Highline and many, many, more…

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FELDENKRAIS Class
at Westbeth

Westbeth_Flyer_10

Thursday at 4pm – 5pm,
Taught by Doron Tadmore Guild-certified Feldenkrais teacher

Westbeth Community Room 155 Bank St (enter through courtyard) between Washington and West Streets. Take A C L or E Train to 14th St and 8th Avenue and walk south to Bank St. Turn left.

$5.00 per class

Contact: Sandra Kingsbury westbethperformance@gmail.com

Sponsored by Westbeth Beautfication Committee

Awareness Through Movement consists of verbally directed movement sequences presented primarily to groups. A lesson generally lasts from thirty to sixty minutes. Each lesson is usually organized around a particular function.

In Awareness Through Movement lessons, people engage in precisely structured movement explorations that involve thinking, sensing, moving, and imagining. Many are based on developmental movements and ordinary functional activities. Some are based on more abstract explorations of joint, muscle, and postural relationships. The lessons consist of comfortable, easy movements that gradually evolve into movements of greater range and complexity.

Awareness Through Movement lessons attempt to make one aware of his/her habitual neuromuscular patterns and rigidities and to expand options for new ways of moving while increasing sensitivity and improving efficiency. There are hundreds of Awareness Through Movement lessons contained in the Feldenkrais Method that vary, for all levels of movement ability, from simple in structure and physical demand, to more difficult lessons.

A major goal of Awareness Through Movement is to learn how one’s most basic functions are organized and improve. By experiencing the details of how one performs any action, the student has the opportunity to learn how to:

attend to his/her whole self
eliminate unnecessary energy expenditure
mobilize his/her intentions into actions
learn and improve