Jenny Morgan: How to find a ghost at Driscoll Babcock Gallery October 17 – November 23, 2013

If you happen to be wandering around Chelsea looking for incredibly innovative and groundbreaking, conceptual realism, which will make your head spin…make sure you visit 525 West 25th Street and treat yourself to a Jenny Morgan exhibit at the Driscoll Babcock Gallery. This painter has the ability to over satisfy and stimulate your visual senses while tickling your curiosity with a sledgehammer. You will not simply walk out of the Driscoll Babcock Gallery and go on your merry way after viewing this solo show, you’ll be pondering it’s impact for days. I once had an art professor tell me, “If people are standing before your work, staring so quietly you can hear a pin drop, (in the art world) that’s a standing ovation…”

Corporeal but also ethereal, Jenny Morgan pushes the boundaries of figurative painting by exploring new ways of affecting her impeccably detailed images. Her haunting portraits are perfectly realized only to be annihilated; their surfaces sanded and stripped away to reveal physical and spiritual wounds of the flesh. By disturbing the surface of the canvas, she achieves a striking intensity and psychological depth in her work, breaking through the ideals of traditional portraiture and the preciousness of realism. In addition to self-portraits, Morgan often depicts people she knows personally, though not intimately, stating “If there is a spark of mystery to our relationship it leaves room for me to explore them on canvas.” Morgan’s deeply personal work examines the complexity of human relationships and awareness, providing the viewer a visual and conceptual window into the vulnerable multiplicities of the self.

Since 2012, Jenny Morgan has been exclusively represented by Driscoll Babcock Galleries. The gallery will present a solo exhibition of her work in Fall 2013. Morgan’s work has been exhibited nationwide and internationally in solo exhibitions at galleries in Brooklyn, NY and Denver, Colorado; and in numerous group exhibitions including the Smithsonian National Portrait Gallery, in Washington, D.C.; 92Y Tribeca and the Le Roy Neiman Gallery at Columbia University, both in New York, NY; and at galleries in Orlando, Florida; London, England; and Falun, Sweden. Additionally, Morgan has realized several portraiture commissions for the likes of The New York Times Magazine and New York Magazine.

Born in Salt Lake City, UT, Jenny Morgan currently lives and works in Brooklyn, NY. She holds a BA from the Rocky Mountain College School of Design in Lakewood, CO and an MFA from the School of Visual Arts in New York, NY.

http://www.driscollbabcock.com
525 WEST 25TH STREET NEW YORK, NY 10001 212-767-1852

Bertrand Delacroix Gallery Presents: JASON BARD YARMOSKY “DREAM OF THE SOFT LOOK” : OCT. 3 – OCT. 31, 2013

JASON BARD YARMOSKY

Thursday night solo exhibitions are back and they’re back with a vengeance. Bertrand Delacroix Gallery is consistently powerful and poignant with their artist’s exhibits and the opening reception for Jason Bard Yarmosky was no exception. I once heard Dustin Hoffman say, “There isn’t a day that goes by when I don’t think of having sex or dying. I must say, I’m in complete agreement with his sentiment because I think about the same things. One thing that I don’t spend much time thinking about is the actual aging process. Jason’s work struck a chord in me that night and I haven’t stopped pondering the actual process of aging since then. Whether he meant to or not, his exhibit “Dream of the Soft Look” was extremely thought provoking regarding my remaining existence on this planet. It caused me to accept a lot of different aspects of aging and although you cannot read my age on my exterior layer (so I’ve been told), I’ve realized, that day when you can, is coming closer and closer.
I urge you to see (and take a close look at) Jason Bard Yarmosky “DREAM OF THE SOFT LOOK” at Bertrand Delacroix Gallery exhibiting from Oct. 3 – Oct. 31, 2013.

Jason Yarmosky began drawing as a child. He graduated with a BFA from the School of Visual Arts in New York City in 2010.
With his focus on painting his grandparents, Yarmosky devotes his efforts to exploring the concept of aging. His paintings and drawings have been exhibited and collected throughout the United States and around the world. His work has appeared in numerous publications such as Azart Magazine, American Artist Drawing, New American Paintings, High Fructose, and the Huffington Post. He is a past winner of the Elizabeth Greenshields Award.
Dream of the Soft Look, Jason Bard Yarmosky’s new solo exhibition continues the artist’s exploration of the human life cycle. Building on his earlier work in the Elder Kinder series, these new meticulously constructed and strikingly life-like paintings invite the viewer into intimate moments of truth, many of which are reflected in the model’s gaze in a mirror.
The resulting view sparks an external/internal conversation filled with moments of bewilderment, frustration, humor, and wonder as the aged body is reflected back at the still vibrant soul, dreaming of the soft look.
Yarmosky explores the tension between the physical and psychological elements of aging. However the show also has much to do with memory, and its enduring role throughout the life cycle. His powerful black-and-white paintings reflect the “realness” of now. They are the mirror of the present, while the “idealized” memory, often colored over time, is presented in myriad pigments.
The artist created a short video (featured above) to further explore this concept of aging. Yarmosky’s black and white lens follows his grandfather, Leonard Bard, waking up to one of Chopin’s Nocturnes. As his grandfather goes through his daily painstaking routine of waking, showering, shaving etc., he has contemplative moments interspersed with flashbacks to his past. These memories are of his wife and daughters and are represented by 8mm footage, which was filmed by Leonard in the 1950′s.
Yarmosky presents us with his grandfather now in black and white, and his grandfather’s actual memories in color. As the video dances between the present and past, Leonard comes face-to-face with his countenance and circumstance, ultimately finding equilibrium in his memories and the wisdom gained from a lifetime of living.

Vincent Zambrano: Before the Sound at Reverol & Co. Galllery

I’ve known Vincent Zambrano for a great long time. I ‘ve been aware of his paintings for many years now, even decades. In the early 90’s I would bump into him at the local galleries in Manhattan. It seemed as though we were on the same circuit but our transportation to the venue was different. I’d see him at galleries uptown, mid-town and ultimately downtown, to end the night of endless walking as we viewed the latest (countless) works by the many represented artists. This happened nightly and on a regular, weekly basis just as it does now. When I met Vincent early on, I admired him for his focus and the attention he would give each painting displayed before him. It was as though he was studying each artist’s technique down to the brush stroke. I eventually became friends with Vincent and he showed me his work. I remember being very impressed and I thought, “This guy’s a better realist painter than most of the artists exhibiting.” Over the years, however, I’ve noticed a change in his work. It seems to have veered off and took a sharp left turn, away from painting fine art, realism, such as the “Old Masters, to a much more contemporary approach. In some cases, not a single stroke of paint is applied. When I asked Vincent about his new direction, he compared his new body of work to that of a projectile traveling from the Earth’s surface to the voids of space or the “Unknown” in hopes of finding new, inhabitable territory. “There comes a time when an artist needs to step outside of his/her comfort zone and explore other forms of visual and cerebral entertainment through the expansion of your initial horizons.” It’s like, “What box?” “I haven’t seen boundaries in years and it’s more fun for me (as well as the viewer) this way.” “I see the difference in the way people view my new works as opposed to the older ones and it’s refreshing in every way, like a new way of thinking and expressing.” “Once again referring back to a comparison to the navigation of an inflight aircraft, “I feel as though the vessel has taken flight and just as a projectile designed by NASA, it burns through different stages of fuel and releases those compartments of used storage and propels it further to reach greater heights without the added weight.” “I’m in a void right now and it’s a very exciting place for me to be.” “I’m trying to keep this flight going in a very specific, yet, ambiguous way.” “Just as people get bored with the routine of every day life at the office and coming home, turning on the Television and becoming a couch potato, some artists experience the same challenges in creating a body of work. The change of direction adds so much rejuvenation to my thought process and fuels my creative fire until I change it again. Voids are a good place to re-evaluate things as long as you’re thoroughly rethinking and reassessing in a productive manner.” “You see, all of the knowledge that I learned is still there, it’s just being applied differently and that is what helps me reach my destination just as a GPS system helps us stay on course to reach our destinations on the road.” “It keeps us from getting lost.”

This creative artist has come of age.

M. Pablito

“I created this sound installation as a way for me to cope with the inevitable loss, the uncertain future, and the importance of human presence and love, and to honor our family’s journey forward.

In creating this work, I recorded the sound of my foster son’s breathing while asleep. I similarly recorded the sound of my wife and myself breathing and also generated a generic sound to represent the breathing of my foster son’s birth mother. I now replay these sounds using four multi-channel speakers while visually interacting with you using photographs, moving pictures, and drawings, all focused on my foster son’s bed as the centerpiece where the you may sit or lay.

While seemingly ordinary sounds, these life-sustaining breaths interact with our environment, while perfectly capturing the fragility of the human condition. Our four orchestrated breathing sounds will enable you to experience the intimacy of our tenuous bond together, and will transport you into my own personal space and struggle as a Foster-parent.”

Vincent Zambrano