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JoAnne Artman Gallery

511 A West 22nd Street, New York
Wednesday - Saturday: 11 am - 5 pm




Sep 13-Nov 03
JoAnne Artman Gallery, Presents: HALF NAKED: Featuring RAY TURNER FALL 2018 Artist’s Reception: Thursday, September 13th, 2018 from 6pm-8pm Please RSVP: 949.510.5481 by September 1st, 2018 JoAnne Artman Gallery 511A West 22nd St. | New York, NY 10011 Contact:  JoAnne Artman Telephone:  949-510-5481 | E-mail: joanneartman@aol.com Website: www.joanneartmangallery.com HALF NAKED Half-Naked adjective | half·na·ked  1. being without clothing or covering nude: 2. bare of any covering, overlying matter, vegetation, foliage, or the like: naked fields. 3. bare, stripped, or destitute: The trees were suddenly naked of leaves. 4. without the customary covering, container, or protection: a naked sword a naked flame. 5. without carpets, hangings, or furnishings, as rooms or walls. 6. unassisted by a microscope, telescope, or other instrument: visible to the naked eye. Origin of Naked: Middle English Old English before 900 Middle English naked(e), old English nacod cognate with Dutch naakt, German nackt, Gothic naqths akin to Old Norse nakinn, Latin nudus, Greek gymnos, Sanskrit nagnas Ray Turner’s work presents a duality between a forceful primality in his treatment of material, and a more cerebral retrospection of the range of human emotion that the work holds within. In Turner’s earlier series, the concept of identity was explored through the act of transformation through active participation, in the space between observer and observed as the work became an active channel. In his new work, Turner has put his emphasis on the physicality of the mark making process itself as a means of representation, further breaching the boundaries of the traditional modes of portraiture. JoAnne Artman Gallery is pleased to present Half Naked, a showing of Turner’s most recent paintings and prints focused on exploring the dichotomies behind the idiom “half-naked” that powerfully echoes our own discomfort when confronted with the illusions of safety behind all social constructs through the viscerality of the painting medium. In Half Naked, Turner takes his explorations into the emotive potential of the portrait to the next level, as he presents a group of works that refuse to be categorized by exclusion. From work to work, Turner presents a didactic deconstruction of the visual semantics behind recognizability of form through a parsing of the gray space of the half-formed, half-naked. The representational qualities of the works rely on Turner’s mastery of form and the vast range of human facial expression. Through slightest suggestions, Turner is able to utilize the properties of his medium to create images that capture and attune to emotional states. Created as an organic process of fluid, painterly malleability, the paintings are reminiscent of the dextrous exaggerations of Francis Bacon, the mastery of form and the grotesque of Francisco Goya, and the wide, luscious strokes of John Singer Sargent. The new body of work further explores the concept of identity through materiality and the idea of formation by utilizing materials that emphasize the painting process such as translucent mylar, acetate, vellum, and duralene. Chance, discovery, and intentionality are an integral part of Turner’s working process as he experiments with new elements such as the semi-opaqueness of mylar and duralene - materials he was initially inspired to use through the study of old anatomy illustrations. Assembly and display as part of the presentation process are another important step in Turner’s methodology as a point of visual guidance via juxtaposition. RAY TURNER (b. 1958, Stockton, California) lives and works in Pasadena, California where he earned his BFA from Art Center College of Design. His work has been showcased in exhibits throughout the country as well as in museums and galleries in San Francisco, New York, Miami, Chicago, Boston, and Berlin. Ray Turner’s work will inspire, provoke, engage and mesmerize. With visual perceptions always changing, peek behind the stories told and youre sure to find the right artistic expression!

CONCRETE JUNGLE: Featuring John “CRASH” Matos
Nov 08-Dec 31
JoAnne Artman Gallery, Presents:?CONCRETE JUNGLE: Featuring John “CRASH” Matos Fall/Winter 2018 Artist Reception: Thursday, November 8th, 2018 from 6pm-8pm Please RSVP: 949.510.5481 by November 1st, 2018 ?JoAnne Artman Gallery?511A West 22nd St. | New York, NY 10011?Contact:  JoAnne Artman?Telephone:  949-510-5481 | E-mail: joanneartman@aol.com ?Website: www.joanneartmangallery.com CRASH Iconic, sleek and smooth, the visual style of John “CRASH” Matos resounds with a singular, signature vibrancy. Throughout his almost four decade career, CRASH’s work has engaged with environments on a huge scale - ranging from his early murals on the sides of NYC subway trains in the 70’s, to more recent projects such as a large mural commission at Miami’s Hard Rock Football Stadium. JoAnne Artman Gallery is pleased to present the artist’s new body of work that continues this conversation around scope, scale, and environment, through a continued exploration of the spray paint medium. CRASH’s radiant, fluorescent palette cements his work firmly in the present as the artist works within a dialogue culled from classic pop culture, comic book and print references. A frequent collaborator, CRASH’s process is rooted within his identity as a Bronx-born graffiti artist, having come of age in the hip-hop fueled Bronx of the late 1970s. His distinct style made him an iconic part of the NYC visual landscape, while also pioneering a new age for graffiti in 1980 when he curated the pivotal “Graffiti Art Success for America” exhibition at Fashion MODA. In his new work he widens the scope in a gestural exploration of form and shape, with a continuously unfolding narrative that plays out over each surface, barely contained to the planes of the canvas. Whether on city streets or gallery walls, concrete or canvas, CRASH’s works are instantly recognizable. Continuously engaged in various projects and commissions his work is also part of numerous museum shows, with works in many permanent museum collections such as the Museum of Modern Art (New York), Brooklyn Museum (New York), Scottsdale Museum of Contemporary Art (Scottsdale), and Stedeljik Museum (Amsterdam). CRASH’s work will inspire, provoke, engage and mesmerize. With visual perceptions always changing, peek behind the stories told and youre sure to find the right artistic expression!

“THE ART OF FASHION” Featuring JANE MAXWELL in the Main Gallery and PEDRO BONNIN in the Projects Space
Feb 14-Mar 31
JoAnne Artman Gallery, Presents: “THE ART OF FASHION” Featuring JANE MAXWELL in the Main Gallery and PEDRO BONNIN in the Projects Space Winter/Spring 2019 Artists Reception: Thursday, February 14th, 2019 from 6pm-8pm Please RSVP: 949.510.5481 by February 3rd, 2019 JoAnne Artman Gallery 511A West 22nd St. | New York, NY 10011 Contact:  JoAnne Artman Telephone:  949-510-5481 | E-mail: joanneartman@aol.com Website: www.joanneartmangallery.com THE ART OF FASHION In conjunction with New York Fashion Week, JoAnne Artman Gallery is proud to announce the opening of The Art of Fashion, featuring recent works by Jane Maxwell at the gallery’s New York location. Assorted works by artist Pedro Bonnin will also be on display in the gallery’s Projects Space. NYFW is a semi-annual, week-long, celebration of fashion and style where international fashion collections are shown to buyers, press, and the general public. Mixed Media artist Jane Maxwell and Photorealist painter Pedro Bonnin create work that emphasizes the movement of the human figure through space, including defining elements of fashion, style and design. Though Maxwell and Bonnin work in vastly different stylistic approaches and mediums, both artists find inspiration in the human form touching on universal themes of identity and perception through the lens of fashion. For Jane Maxwell, it is the suggestion of the figure and the space that it occupies which is the primary focus in many of her compositions. The ideas of personal agency, the feminine ideal, and body image are explored through Maxwell’s study of the body in motion. The silhouette is the primary mode of portrayal as the figures stride through undefined space, emphasizing line and movement. Maxwell utilizes found paper ephemera such as posters, prints, and other printed materials in her compositions, collaging on wood panels in an organic accumulation of color and texture. Remnants of particular phrases, letters, and dates are left intentionally whole, allowing for interpretation through juxtapositio n of image and text. In several instances, Maxwell utilizes the found printed matter in ways which imitate the hard-edged graphic look of branded apparel featuring logos or other signifying insignia, navigating the politics of identity, fast fashion, and advertising. Pedro Bonnin’s twisting figures appear suspended in animation as they are captured in the stillness of a vacuum, their features arrested in mid-action. The captured moment allows for uninterrupted, uninhibited study as the figures float, jump, and turn through the air in physical mimicry of the dynamic complexities of human relationships. Bonnin favors portraying real people, and his work explores a full range of both motion and emotion, playing on the reserved ideals of classical portraiture. Through a meticulous portrayal of clothing and accessories, Bonnin dissects the narratives of perception showing articles of status and fashion statements as markers of identity. Such details give a vivid sense of individuality and physical presence while the drama of each scene is emphasized by Bonnin’s use of a monotone background and a tight cropping of the picture plane. JANE MAXWELL (b. 1964) is a mixed media artist based in Boston, Massachusetts. Maxwell graduated with a BA in Literature from Middlebury College, studied mixed media at the School of the Museum of Fine Arts in Boston as well as at the deCordova Museum School in Lincoln, Massachusetts. PEDRO BONNIN (b. 1967, Cuernavaca, Mexico) lives and works in Cuernavaca, Mexico. Focusing on the figure, Bonnin takes inspiration from his study of Italian Masters in his handling of shadow and light, modeling of paint, and emphasis on individual character and personality.