Friday, April 4, 2014

#Blinddates/ MusicLab edition #4, Thursday, April 10, 6 - 8 p.m.

Ryan Messina, Nick Lyons and Will Jhun will light up the gallery on Thursday, April 10, 6 - 8.

Artists on view: Ross Watts, Brian O'Leary, Bill Armstrong, Eric Dever, Gus Yero, Malin Abrahamsson, Glenn Fischer, Cara Enteles, William Pagano.

From top: Brian O'Leary, Bill Armstrong, Gus Yero. For more info, contact Sara Nightingale.

Wednesday, March 12, 2014

Wednesday, March 5, 2014

Ross Watts at Volta, NY, 82 Mercer St.

Ross Watts has a gorgeous installation in booth 1.10 at Volta NY at 82 Mercer St. Please join us for the  Vernissage on Thursday, March 6th till 9:00 p.m. or come to the public hours Thursday - Sunday.

Thursday, November 7, 2013

Peter Sabbeth, Ross Watts, In Stereo, Opening Reception: Saturday, Nov. 9, 5:30 - 8:00 p.m.

Peter Sabbeth addresses the rapidly changing information culture by preserving and honoring obsolete artifacts, in this case handwriting. While acknowledging the abundant creativity of our time, he laments the loss of longstanding staples of culture such as newspapers, home telephones and the intimacy of the handwriting of loved ones. Yet there is actually no real handwriting or meaning in the paintings at all. The spectator is removed from the responsibility for translation or literal engagement. Data becomes pattern. The energy and beauty of line become an epitaph for the future moment when handwriting will be so rare that it has earned a place on the wall.

Ross Watts creates minimal, conceptual paintings, sculptures, and installations. The repetition of simple activities, such as alterations of paper, and engagement with surrounding architecture are motifs that inform Watts' study of urban architecture and the grid. Recent work, influenced by a move to Sag Harbor, NY, has involved a turn toward the natural world — stones carved from the pages of books and paintings made from stencils of layered fishing nets stretch the grid into more organic forms. Conceived as minimalist paintings, the wall sculptures are composed of hundreds of strips of paper, torn or cut by hand and held to the wall by compression. The "paintings" become constructions dependent upon the wall itself for their existence.

For more information and images contact Sara Nightingale at or 631-793-2256. The gallery will be open on Friday, Nov. 8th, from 6 - 8 p.m. to accommodate those visiting the Parrish Art Museum's Members' Preview for Artists Choose Artists. The Parrish will host another reception for members on Saturday from 6 - 8 p.m., so those wishing to visit the museum the same evening as the gallery opening will be able to do so. It is suggested that attendees rsvp for the Parrish event. Join the Parrish: Ashley Dye's HANG gallery and artisan market will be open as well and serving libations. 

The exhibition runs through Dec. 10th.

Monday, August 5, 2013

Bill Armstrong, Buddha & Mandala, Opening Aug.3, 2013

Sara Nightingale Gallery is pleased to present Bill ArmstrongBuddha & Mandala, opening Saturday, August 3, from 6:00 to 8:00 p.m. Through Sept. 23rd.
         This will be Armstrong's 10th anniversary with Sara Nightingale. In August of 2003, Armstrong had his breakout show at the gallery. Since then he has gone on to become a well-established international artist. We commemorate that show with an exciting installation of new floating Buddhas hanging in the center of the gallery accompanied on the walls by Mandalas that were shown at the Philadelphia Museum of Art in 2008.
         Armstrong's Infinity Series, begun in 1977, includes a wide range of portfolios made by photographing found images with the camera's focusing ring set at infinity. The appropriated images are subjected to several manipulations - photocopying, cutting, painting, re-photographing - which transform the originals and provide new context. The results hover between the real and the fantastic, dreams and memory, and point toward a parallel universe. Place is suggested, but is never defined, and the identity of the amorphous figures remains in question. Extreme de-focusing enables Armstrong to blend and distill hues, creating rhapsodies of color that inspire meditation. He has said that color is the subject of the work. 
         Armstrong’s work was featured in a two-person exhibition at the Philadelphia Museum of Art in 2008. He has exhibited work in numerous other museums including the Smithsonian Institution, Washington, DC; George Eastman House, Rochester, NY; Hayward Gallery, London; Musée de l'Élysée, Lausanne, Switzerland; Centro Internazionale di Fotografia, Milan; and FOAM, Amsterdam. His photographs are included in the permanent collections of the Vatican Museum, Rome; Victoria & Albert Museum, London; Philadelphia Museum of Art; Brooklyn Museum, NY; Houston Museum of Fine Arts; and the Bibliothèque National de France, Paris; among many others. 

  Armstrong’s work appears in Face: The New Photographic Portrait by William Ewing and Exploring Color Photography by Robert Hirsch, among others, and his Mandala #450 is the cover image for The Edge of Vision: The Rise of Abstraction in Photography by Lyle Rexer (Aperture, 2009). He has also been published in numerous periodicals including The New YorkerThe New York Times and Harper’s. Armstrong is on the faculty at the International Center of Photography and the School of Visual Arts.

Meditation Room, a group exhibition in the project space, will run concurrently with Bill Armstrong's show and will include works by Eric Dever, Cara Enteles, Glenn Fischer, William Pagano, Kia Pedersen, Peter Sabbeth, Mike Solomon, and Ross Watts.

The exhibitions will run through Sept. 23rd. For more images or information contact Sara Nightingale at 631-793-2256.

Images: Bill Armstrong, Buddha 711, Buddha 712, C-Prints, 48" x 40", 36" x 30", 24" x 20"
Ross Watts, Open, Paper, steel, tape, 9" x 10" x 1"

William Pagano, Here and Sometimes There, July 6 - July 31, 2013

Sara Nightingale Gallery is pleased to present William Pagano, Here and Sometimes There, opening on Sat. July 6, from 6 - 8 p.m.

  As a child, William Pagano had the good fortune of attending the opening of the new Idlewild Airport, now JFK, as well as the 1964/65 World's Fair. The architecture he observed at these events left a lasting imprint on his work. Utopian minimalist American architecture is the driving influence behind his work. "I select iconic buildings with wide open designs that address light and space and hope for the future," he says. In his Modern House Series, two well known mid century homes serve as inspiration: the Stahl House by Pierre Koenig and Twin Palms, by E. Stewart Williams. The Dulles airport terminal designed by Eero Saarinen as well as various highway interchanges also provide subject matter.

 Using both his own photographs and appropriated images as source material, Pagano pairs down his compositions, stripping away the unnecessary and focusing on the line, shape and space that remains. Linear perspective is used and misused to create order, tension and contradiction. Pagano achieves crisp edges and lines by working with traditional drafting tools, which serve as a connection to the original architectural forms.

     Like the Light and Space artists of Southern California in the 60's, Pagano's concerns are volume, scale and light. He utilizes the translucency of oil paint to emphasize these qualities. "I have sought out public venues that speak to an idealized spectacle, while the houses I have chosen emphasize a structure's primary function: shelter." The resulting paintings, however, are devoid of human figures, and thus generate tension between beauty and alienation.

Pagano is a New York based artist who has an MA in sculpture from C.W. Post College. This will be his debut solo exhibition at the gallery.

  The exhibition will run through July 31. For information or more images contact Sara Nightingale at