Thursday, September 30, 2010


CONTACT:  Mark Segal
                  631-283-2118, ext 22


SOUTHAMPTON, NY  9/28/2010 — American Still Life: Treasures from the Parrish Art Museum, an exhibition of more than forty paintings, sculptures, and works on paper dating from 1871 to the present, will be on view at the Parrish from October 10 through November 28, 2010. Organized by Alicia Longwell, Lewis B. and Dorothy Cullman Chief Curator, Art and Education, American Still Life is the third in a series of exhibitions drawn exclusively from the Museum’s permanent collection, following in the wake of American Landscapes: Treasures from the Parrish Art Museum and Fairfield Porter: Raw—The Creative Process of an American Master.
          American Still Life explores the historical precedent and the evolution of the practice in the work of thirty-one artists in the Parrish’s permanent collection: Nell Blaine, Barbara Bloom, Warren Brandt, John Button, William Merritt Chase, Nicolai Cikovsky, Michael Combs, George Constant, Jim Dine, Jane Freilicher, William Glackens, Philip Guston, Robert Kulicke, Robert Lazzarini, Li-lan, Roy Lichtenstein, Sheridan Lord, Henry Muhrman, Robert De Niro, Fairfield Porter, Robert Rauschenberg, Larry Rivers, Dan Rizzie, James Rosenquist, Casimir Rutkowski, Raphael Soyer, Donald Sultan, William Aiken Walker, Fred Wilson, Jane Wilson, and Joe Zucker.
          “Still life painting has traditionally been regarded as a ‘lesser art’ when compared to the loftier subjects of religious and history painting, landscape, and portraiture,” according to Alicia Longwell. It was not until the sixteenth century in Holland that the trappings of everyday life became seen as worthy subjects for artists, and the resulting paintings became valued objects.
          Once it was established as a viable interest, the still life became an important feature in American colonial painting. In 1871, a youthful William Merritt Chase chose a still life subject to demonstrate his prodigious technique. Still Life with Fruit (1871) acknowledges European models but has “a rustic simplicity that is purely American,” according to Longwell. Still Life with Cockatoo was painted ten years later and reflects Chase’s study at Munich’s Royal Academy and exposure to the virtuoso brushwork of European Old Masters.
          For those mid-twentieth-century artists associated with realism—including Jane Freilicher, Fairfield Porter, Robert De Niro, and Nell Blaine—the still life offered abundant opportunities to depict the concrete world in visual terms. A number of artists have chosen their own studios as subjects: Fairfield Porter in Painting Materials (ca. 1949), Philip Guston in The Visitors (1975), Jane Freilicher in Bottles of Linseed Oil (1967), and Jim Dine in Little Blue Palette (1963). For James Rosenquist, Robert Rauschenberg, and Roy Lichtenstein, all of whom are represented in the exhibition, the object, no matter how ordinary, was of primary importance.     
          Among contemporary artists, Joe Zucker, Dan Rizzie, and Donald Sultan have redefined the still life, bringing an active engagement with surface and texture to the forefront and affirming the ongoing future of the genre.
          An opening reception will take place Saturday, October 9. Alicia Longwell and Joe Zucker will discuss still life painting, past and present, at 6 pm in the Museum’s concert hall. A reception will follow at 7 pm. Admission is free for Parrish members, $10 for nonmembers. Reservations are required for the panel discussion and may be secured by telephoning 631-283-2118, ext. 41.
Roy Lichtenstein. Apple with Brushstrokes, ca. 1984. Collage on paper. 29 1/2 x 26 inches. Parrish Art Museum, Gift of Dorothy and Roy Lichtenstein.

William Merritt Chase. Still Life with Fruit, 1871. Oil on panel. 30 1/2 x 25 inches. Parrish Art Museum, Littlejohn Collection.

Jane Freilicher. Bottles of Linseed Oil, 1967. Oil on canvas. 20 1/8 x 24 1/8 inches. Parrish Art Museum, Gift of Larry Rivers.

The presentation of American Still Life: Treasures from the Parrish Art Museum and its accompanying programs are made possible, in part, with generous underwriting support from the Corcoran Real Estate Group.

Major support is provided by Barbara Slifka and Helene B. Stevens.
Additional funding is provided by Brenda Earl and Allison Morrow.

The Museum's programs are made possible, in part, with public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties, and the property taxpayers from the Southampton School District and the Tuckahoe Common School District.

About the Parrish Art Museum

The Parrish Art Museum is an American art museum located in Southampton, New York. Founded in 1897, the museum celebrates the artistic legacy of Long Island’s East End, one of America’s most vital creative centers. Since the mid 1950s the Museum has grown from a small village art gallery into an important art museum with a collection of more than 2,600 works of art from the nineteenth century to the present. It includes such contemporary painters and sculptors as John Chamberlain, Chuck Close, Eric Fischl, April Gornik, Elizabeth Peyton, as well as such masters as Dan Flavin, Roy Lichtenstein, Jackson Pollock, Lee Krasner, and Willem de Kooning. The Parrish houses among of the world’s most important collections of works by the preeminent American Impressionist William Merritt Chase and by the groundbreaking post-war American realist painter Fairfield Porter. A vital cultural resource serving a diverse audience, the Parrish organizes and presents changing exhibitions and offers a dynamic schedule of creative and engaging public programs including lectures, films, performances, concerts, and studio classes for all ages. On July 19, 2010, the Parrish broke ground on a new building designed by internationally acclaimed architects Herzog & de Meuron. The 34,500-square-foot facility will triple the Museum’s current exhibition space and allow for the simultaneous presentation of loan exhibitions and installations drawn from the permanent collection.


Tuesday, September 28, 2010

Trapani Fine Art in Manhasset

1st Annual Small Works Show 2010

Trapani Fine Art in Manhasset, New York 
Sponsoring its First Annual Small Works Show 2010

Artists are invited to submit up to three original, 2D images for consideration in any media with maximum framed dimensions of 16 X 16 inches. Work must be properly framed and wired for hanging. Gallery wrap is acceptable. All work must be available for sale and priced no greater than $500. The artist will receive 60% of any of their work sold at the close of the show. 

Works must be available for the duration of the show from 
November 15, 2010 through January 5, 2011

Download the prospectus at:  WWW.TRAPANIFINEART.COM  or mail a self addressed stamped envelope to: Trapani Fine Art, Small Works 2010, 447 Plandome Road,Manhasset, New York 11030. 

Thursday, September 23, 2010

Long Islnd Fringe Festival at Tilles Center


Hosted by Tilles Center fro the Performing Arts

Presented by The Artists Group

Single tickets start at $7 or buy a bundle

FRIDAY Evening Show Opening Reception included $32


Monday, September 13, 2010

Art Under Glass helps open Tilles Center 30th Season

 Art Under Glass helps open 
Tilles Center 30th Season
“NITE OUT” by Jerelyn Hanrahan

Brookville – New York - Tilles Center for the Performing Arts in the 30th year of presenting the finest in world class entertainment on Long Island, The Artists Group and Elliott Sroka, Executive Director and are proud to present “NITE OUT” – by Jerelyn Hanrahan. Making it’s public debut for Dianna Ross and the world on September 14 at 8PM. The “Art Under Glass” program is in the 7th year of presenting unusual, cutting edge, displays exhibited in the open, blank canvas space, that is the Atrium of Tilles Center.

Jerelyn Hanrahan is an internationally accomplished artist, professor and curator. She was recently listed by Long Island Pulse magazine as a VIP artist for 2010. Her two and three-dimensional, public sculpture, museum and gallery installations, video and digital work are exhibited, published and awarded throughout North America and Europe.

Currently her public works are on view on Governors Island, Adelphi University,  the Tilles Center for the Performing Arts, and upcoming venue’s include Pearl’s of Community in the hamlet of Oyster Bay.

Her professional studio, Atelier, Studio / Fine Arts resides in the hamlet of Oyster Bay, which functions as the artists studio, as well as a contemporary art space, exhibiting an international and local spectrum of artists.

Contact Tilles Box Office, by phone for more information about this and the other unusual programs brought to you by The Artists Group in collaboration with Tilles Center - 516-299-3100 and online at and

Thursday, September 2, 2010

The Art Newspaper - September 2 - 2010

Archaeo­logists attack 

BP’s drilling plans

Damage feared to underwater sites off the coast of Libya, after Gulf disaster
By Emily Sharpe | From issue 216, September 2010
Published online 2 Sep 10 (News)
london. From Greek and Roman shipwrecks to 20th-century warships; from ancient streets with intact buildings and mosaics to am­phorae and ingots, the Mediter­ranean is a subaqueous treasure trove. So BP’s plans to drill exploratory oil wells off Libya has raised serious concerns among archaeologists, historians and heritage preservation organisations.
The global energy giant says that it will begin the $900m project to drill five exploratory wells in the Gulf of Sirte “before the end of this year” despite the fact that the cause of the blowout of its Macondo well in the Gulf of Mexico has yet to be determined. The Libyan wells will be 200 metres deeper than the Macondo.
“An oil spill off the coast of Libya would be a complete disaster,” said Claude Sintes, the director of the subaquatic team of the French archaeological mission to Libya and director of the Museum of Ancient Arles, France. According to Sintes, there are two archaeologically rich areas along the Libyan coast—Cyrenaica and Tripoli­tania. Within Cyrenaica lies Apollonia, an ancient harbour submerged five metres under the water. “It’s a complete town under the sea with streets, walls and houses. Slow tectonic movement caused it to sink,” said Sintes.
Tripolitania, which extends from Tripoli to the Tunisian border, includes two important ancient sites on the shore: Leptis Magna, a once powerful Roman city and harbour, and Sabratha which has the remains of a theatre and a Roman bath with spectacular mosaics. Both are Unesco World Heritage sites. “These sites are archaeologically significant because they allow us to understand the complete evolution of this part of the world from Greek colonisation in the seventh century BC to the Arab invasion in the seventh century AD,” said Sines.
James Delgado, the president of the Institute of Nautical Archaeology at Texas A&M University, stressed the archaeological importance of the Mediterranean as a highway for ideas, trade and settlement, noting that thousands of wrecks from various historical periods lie within in its depth. “There is a complete record of thousands of years of history on the bottom of the Mediterranean,” said Delgado. Both Sines and Delgado said that although the area is still largely yet unexplored, given its significant history they expect significant finds in the future.
In the wake of the Macondo blowout, teams of scientists are in the process of analysing water samples in the Gulf and monitoring the 22-mile oil plume floating 3,500 ft. under the sea. According to BP spokesman Robert Wine: “So far no notable volumes of oil have been found on the seabed,” but added that “studies will continue.”
The biggest concern is that oil could congeal on the seabed, coating wood, stone and metal artefacts, hindering the recovery of traces of organics, pollens, DNA and “timbers so fragile that when excavated they have the consistency of ricotta cheese”, said Delgado. Sites such as Sabratha are so close to the shore that large waves often cover portions of the ruins. Oily waves could harm Sabratha’s delicate mosaics.
“I don’t think drilling should be allowed until sufficient studies are completed to ascertain the effects of oil movement in the water and the risks to historic shipwrecks and other underwater cultural heritage sites,” said Steven Anthony, the president of the Maritime Archaeological and Historical Society.
According to Delgado advance seismic surveys are the key to protecting these sites: “The [oil] industry already does this, especially in the Gulf. The other safety measures I would like to see are, I am sure, ones the oil and gas industry would also like to see” he said, adding that many of these measures are already being applied. “The Gulf spill was not beneficial to BP on many fronts, albeit it was a rare accident. I cannot believe they want to see a repetition.”
Robert Wine stressed that BP has conducted archaeological and seismic surveys off the coast of Libya and that its “oil spill plans for Libya have been reviewed in light of the Gulf of Mexico incident”. He also said they intend to drill many miles offshore, “well beyond any possible ancient sites”.