Tag Archives: judy barie
Brian Smith | Staff PhotographerColin Shaffer, the assistant to the galleries director for Visual Arts at Chautauqua Institution, hangs a piece of sculpture in the main gallery of the Strohl Art Center on Tuesday. The piece will be part of the exhibition “Contemporary Couples: A Creative Life Together,” opening today.

VACI’s take on ‘Romeo & Juliet’: Couples who live, work, exhibit together

As watercolorist Ann Provan remembers, it was Nov. 1, 1986, when she and her husband, David, a sculptor, first met at a gallery opening in New York City. They were both artists from California who had migrated east.

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Roxana Pop | Staff PhotographerThe ends of Garry Pyles’ metal concept sculpture, “Take Five,” are made of wax he created from resins, beeswax and wax-based crayons.

‘An object of beauty’: Metal, fiber and glass featured in show at Fowler-Kellogg

“An Object of Beauty: Metal / Fiber / Glass,” opening Sunday at Fowler-Kellogg Art Center, includes a coping saw made of melted pennies, a crocheted sword from the cartoon “He-Man” and a shovel cast in glass, among other pieces.

Judy Barie, Visual Arts at Chautauqua Institution’s galleries director, said she was looking for unusual and unexpected objects made of each material — metal, fiber and glass — for the exhibit.

“How often do you see an airplane made of glass?” Barie said, pointing out a piece by Travis Rohrbaugh.

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Brian Smith | Staff PhotographerBethany Krull, of Buffalo, Ny., and Suzanne Fellows, of Wyomissing, Pa., discuss the Visual Arts at Chautauqua Institution exhibition “Wood: On and Off the Wall” at Strohl Art Center on Sunday. The piece behind them is “Diverge” by Jesse Walp.

If wood could talk: Artists share stories behind works displayed in Strohl exhibition

Chautauqua Institution’s first-ever wood art exhibition, “Wood: On and Off the Wall,” is now open.

“I’m a real lover of craft,” said Judy Barie, the Institution’s director of galleries. “I love three-dimensional work, so that was why I chose to open up with a craft show this season.”

The show opened Sunday at Strohl Art Center.

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Benjamin Hoste | Staff PhotographerDon Kimes, artistic director of Visual Arts at Chautauqua Institution, poses for a portrait in his study at the School of Art on Monday.

VACI’s Kimes speaks on creativity from interruption

Don Kimes once went 20 years without buying a tube of red paint.

Kimes ran in artistic circles while living in New York City, having become friendly with Barnett Newman, the famed color field painter.

Some years after Newman’s death in 1970, his wife began to clean out his studio. It was 1977 and Kimes was working as a janitor in New York City, when Newman’s widow asked if he knew of anyone who would want her husband’s old paint. Kimes inherited three boxes of Newman’s reds that day, and by 1979 he began working as a program director at the New York Studio School. Kimes now serves as artistic director for Visual Arts at Chautauqua Institution.

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Benjamin Hoste | Staff PhotographerJanne Sirén, left, speaks with artist Marlene Siff, from Westport, Conn., and her husband, Elliott Siff, at the opening reception for the 56th Chautauqua Annual Exhibition of Contemporary Art at Strohl Art Center on Sunday. A mixed media art piece by Siff titled “Neo Gothic” was included in the show,  which was curated by Sirén, the new director of Buffalo’s Albright-Knox Art Gallery.

Albright-Knox director brings Nordic influence to Chautauqua’s 56th Annual

By January, Don Kimes, artistic director of Visual Arts at Chautauqua Institution, was really biting his nails, worried that the 56th Chautauqua Annual Exhibition of Contemporary Art might not have a juror. Each season for the past 27 years, Kimes has chosen an art authority to select approximately 25 pieces from a nationally submitted pool of art to display at the Institution.

Kimes had worked with Louis Grachos, the former director of Albright-Knox Art Gallery in Buffalo, N.Y., at the end of last year. Together they curated two shows at the Institution on abstraction in America. The final part in the series, “Abstraction in America, part III,” hosted at Strohl Art Center, showcases abstract art from the 1990s to the present.

For the 56th Annual, on display in Strohl’s main gallery through July 15, Kimes thought it would be interesting to invite Albright-Knox’s new director to judge the show, rather than picking a juror in the fall like he has in the past. But things were complicated when the search for Grachos’ replacement took longer than Kimes expected. When Albright-Knox finally announced that Janne Sirén would take the reins of the gallery, Sirén still had to wrap up his five-year tenure at the Helsinki Art Museum. Kimes worried that Sirén wouldn’t have the time to commit to the Annual, but he hoped it would work out. Sirén, a Finnish art professional who received his education in the United States, became famous for ambitious art projects and passionate community engagement.

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Vanessa German’s power figures are constructed from found objects. “They come with a history, and they come with an identity,” she said, “and they come with so many stories inside … already.” German’s work is on display for the remainder of the season, in the Strohl Art Center Bellowe Family Gallery exhibition “American JuJu.” Photos by Lauren Rock.

In ‘American JuJu,’ Strohl displays power figures that reckon with liberty, value, humanity

Vanessa German’s sculptures have the power to fly, to sing, to heal ailments, to call deeply upon history, to spark curiosity and to bind us together in our humanity. Her mixed-media found-object compositions have their roots in her endlessly creative life as a poet, photographer, actress, designer, educator and sculptor.

Her solo exhibit, “American JuJu: Root and Power for a New Century,” opens today from 3–5 p.m. in the Strohl Art Center’s Bellowe Family Gallery, with German performing several of her spellbinding spoken-word poems at the reception.

“I grew up in an environment where there were always the ingredients for making something else,” said German, the daughter of a fiber artist who encouraged her children to create, to read and to perform. “There was never a time in my life that I don’t remember making things and being a performer. That’s how I knew myself; that’s how I understood who I was.”

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Wesley Anderegg. “Man,” “Two Headed Man,” “Woman,” “Lollipop,” “Man with Pipe.” Ceramic plates. 18˝ × 23˝ 
Photo by Lauren Rock.

31 nameless orphans, looking for a home

Very few pictures wear name tags. Naming is the province of the caption, or of an oral tradition, sometimes passed on from parents to children, but more often eluding the good intentions of commitment to writing. The boxes of anonymous photographs in most home closets are silent testimony to this nominative failure. Worse yet, consider the images of family and friends banished, orphaned, at estate sales and flea markets, touching evidence of the painfully anonymous tradition of the portrait.

Judy Barie, director of the galleries of the Visual Arts at Chautauqua Institution, has opened an image shelter for the nameless at Strohl Art Center, in which she offers 31 unnamed images to patrons ready to provide foster parenting and a new home for only partially identified images.

Yes, there are a few pictures known by first names in the shelter — Allen, Joe, Steve, Trudy, Joe, and Virginia among them. Otherwise, we must be content with Two Headed Man, Small Female Head, Young Bride, and Teens on the Beach.

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