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DTSTART;VALUE=DATE:20181020
DTEND;VALUE=DATE:20181217
DTSTAMP:20260409T081522
CREATED:20180810T184834Z
LAST-MODIFIED:20200406T231741Z
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SUMMARY:Syd Solomon: Concealed and Revealed
DESCRIPTION:Moran Gallery \nPrivate Member Reception – October 20\, 2018\nGallery Talk with Mike Solomon – October 21\, 2018\nLecture with Gail Levin\, Ph.D – Novermber 3\, 2018 \nThe late painter Syd Solomon once described himself as an “Abstract Impressionist” alluding to the fact that his work infused Impressionism into the processes\, scale and concepts of Abstract Expressionism. While his paintings have often been framed as an extension of Abstract Expressionism\, a current cataloging project of Solomon’s archives has revealed new information about the singular artist and his milieu. The exhibition Concealed and Revealed\, coming to Guild Hall in October 2018\, is the first to examine Solomon’s work through the lens of his personal archive. For example\, the artist worked as a camoufleur (a person who designs and implements military camouflage) during WWII\, but just how expert Solomon was in this field\, and more significantly\, how this exceptional skill came to inform the development of his painting techniques is just now being understood. After returning from the Western Front at the end of the war with five Bronze Stars\, Solomon joined a coterie of artists whose wartime experience undoubtedly transformed their art. \nAdditionally\, the archive uncovers that Solomon’s high school training in “technical arts” and lettering led to early work in advertising\, creating signs and promotions for stores\, ads for newspapers\, magazines and brochures\, and political campaigns. Like his close colleague James Brooks\, the influence of typography becomes a significant factor in his latter brushwork\, calligraphy\, handwriting and other gestural aspects of his paintings. \nThese discoveries and more allow us to see Solomon’s achievements in a new and more accurate way\, leading us to understand layers of his work not previously or totally appreciated. Concealed and Revealed is presented in partnership with the Estate of Syd Solomon and accompanied by a 96-page exhibition catalogue with essays by Michael Auping\, George S. Bolge\, Gail Levin\, and the artist’s son Mike Solomon. \nThis exhibition is organized by the Estate of Syd Solomon
URL:https://www.guildhall.org/events/fall-exhibition-syd-solomon/
LOCATION:Guild Hall\, 158 Main Street\, East Hampton\, NY\, 11937\, United States
CATEGORIES:Visual Arts
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181020
DTEND;VALUE=DATE:20181217
DTSTAMP:20260409T081522
CREATED:20180906T233511Z
LAST-MODIFIED:20200406T230842Z
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SUMMARY:Sara Mejia Kriendler: In Back of Beyond
DESCRIPTION:Spiga Gallery\nCurated by Casey Dalene – Registrar/Curatorial Assistant/Lewis B. Cullman Associate for Museum Education \nPrivate Member Reception – October 20\, 2019\nGallery Talk with the Artist – December 8\, 2019\nSara Mejia Kriendler’s solo exhibition in the Spiga Gallery was awarded in 2016 when she received the Top Honors Prize in Guild Hall Museum’s 78th Annual Artist Members Exhibition. Kriendler’s work was chosen out of 424 artists by the guest awards judge Jia Jia Fei\, Director of Digital at the Jewish Museum in New York City. \nKriendler’s installation at Guild Hall will consist of all new works\, variations on her current body of work\, exhibited for the first time at the Museo de Arte de Pereira (The Museum of Fine Arts of Pereira) this past Spring. This body of work investigates her maternal Colombian roots inspired by pre-Columbian gold\, the history of the Spanish conquest of the new world\, and the legend of the el dorado. \nAt first glance Kriendler’s sculptures are reverent artifacts in gold leaf\, terracotta and plaster\, but after closer consideration recognizable mass-produced contemporary products make up the basic forms.  Historical references in material choice and color palette give way to ideas of consumerism\, a reminder that the products of today will tell the story of our time.
URL:https://www.guildhall.org/events/fall-exhibition-sara-mejia-kriendler/
LOCATION:Guild Hall\, 158 Main Street\, East Hampton\, NY\, 11937\, United States
CATEGORIES:Visual Arts
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DTSTART;TZID=America/New_York:20181020T110000
DTEND;TZID=America/New_York:20181216T170000
DTSTAMP:20260409T081522
CREATED:20180906T234209Z
LAST-MODIFIED:20200406T232134Z
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SUMMARY:Please Send To: Ray Johnson
DESCRIPTION:Please Send To: Ray Johnson\, Selections from the Permanent Collection\nWoodhouse Gallery\nCurated by Jess Frost\, Associate Curator/Registrar of the Permanent Collection \nPrivate Member Reception – October 20\, 2018\nHow to Draw a Bunny (2002) – November 25\, 2018\nGallery Talk with Jess Frost – December 2\, 2018\nDrawn from Guild Hall’s permanent collection\, Please Send To: Ray Johnson features over 30 works by the famously reclusive artist\, the majority of which are classified as Mail Art\, a movement pioneered by Johnson in the 1950s. The artist sent small\, mixed-media works to a network of fellow artists through the post\, instructing them to intervene in the original work or forward the materials to another person. Mail Art offered Johnson alternative modes of circulating ideas and gaining recognition\, and one could argue that these subversive methods anticipated the digital dissemination of images through platforms like Instagram and Facebook. \nThe cryptic arrangements of notes\, doodles\, newspaper clippings and rubber stamped texts in these works offer great insights into the shifting social dynamics of this fertile period in American art. As viewers try to decode the visual information presented\, they are drawn into Johnson’s complex observations about his immediate art orbit and society at large. Despite regular exhibitions with Feigen Gallery and a 1970 show of his Mail Art at the Whitney Museum of American Art\, the artist remained wary of the public eye. When he retreated to a suburb on Long Island\, limiting his communications to the telephone and post\, his work became increasingly populated by narratives surrounding the celebrities and members of the art scene he had vacated. \nIn January of 1995\, Johnson ended his life by jumping off the Sag Harbor – North Haven Bridge\, a mysterious gesture that was true to his life’s work. This final performance was orchestrated to include a legacy in the form of thousands of works\, carefully arranged in his otherwise empty home in Locust Valley. In Johnson’s absence\, his works became more readily available for public consumption\, and historians began to recognize these works as early examples of Pop art and Conceptual art. \nThis extensive and important cache of material entered Guild Hall’s Permanent Collection through the Tito Spiga Bequest\, for whom one of the museum’s galleries is named. As with all of the museum’s holdings\, the works reveal the rich culture and relationships to the region\, and the museum’s commitment to preserving that history.
URL:https://www.guildhall.org/events/fall-exhibition-ray-johnson/
LOCATION:Guild Hall\, 158 Main Street\, East Hampton\, NY\, 11937\, United States
CATEGORIES:Visual Arts
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181116
DTEND;VALUE=DATE:20190225
DTSTAMP:20260409T081522
CREATED:20181010T032630Z
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SUMMARY:Aubrey Roemer: Blue it!
DESCRIPTION:Roemer’s mural project Blue It! draws attention to the health of the intricate waterways surrounding the East End. This three-part project began with a public beach clean-up in partnership with The Surfrider Foundation\, which took place at Main Beach in East Hampton on October 20 from 11am-1pm. Materials collected on the beach will be used to expose silhouette imagery onto recycled fabric in the rich blue cyanotype process. The printed fabric created at the beach will contribute to a larger collection of cyanotypes created by Roemer and used in a 30-foot mural in the Guild Hall Education Corridor. Altogether\, these blue images will amass themselves like the sea\, which upon closer examination\, will reveal the human-created waste that pollutes it. \n*Beach Clean-Up in partnership with The Surfrider Foundation \n*Additional support and fabric donations from the East Hampton Ladies Village Improvement Society. \nCurated by Casey Dalene\, Registrar/Curatorial Assistant/Lewis B. Cullman Associate for Museum Education
URL:https://www.guildhall.org/events/aubrey-roemers-blue-it/
LOCATION:Guild Hall\, 158 Main Street\, East Hampton\, NY\, 11937\, United States
CATEGORIES:Visual Arts
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