Sara Nightingale Gallery is moving to 26 Main Street, Sag Harbor, NY. Public Opening on Saturday, Jan. 14th from 5:00 - 7:00 p.m.
(Between Black Swan Antiques and Harbor Books)
Photos by Aaron Kresberg of endangered species in Namibia. More info coming soon.
Monday, January 9, 2017
Wednesday, September 28, 2016
Sara Nightingale Gallery is pleased to present, Jim Gingrich, Out West, organized by Graham Leader, opening Saturday, Oct. 1 from 5:00 - 9:00 pm. The exhibition will also be on view Sunday, Oct. 2 from 12:00 - 5:00 pm.
Highly Regarded for his vibrant, evocative landscapes of the South Fork’s fields and beaches, artist Jim Gingerich took a sabbatical from the East Coast last year and landed in the high desert of Utah’s southwest corner. There, on the western cusp of the Colorado Plateau, Gingrich settled on a horse ranch overlooking Smithsonian Butte and Zion National Park. “My vision expanded in the vast space, and the rusty red, volcanized landscape excited me. I welcomed the opportunity for verticality in my work.” During his year there, Gingerisch painted every day and became an avid rider, bonding with a white fox trotter, Lucy, through the foothills of Zion.
Gingerich’s adventures with Lucy, well documented and enjoyed by friends and followers on Facebook and Instagram, ended with a serious riding accident on April 12 when Lucy lost her balance and fell on Jim, crushing his pelvis. Since then, Jim as undergone two major surgeries and is back home in the Hamptons. He looks forward to making a full recovery after extensive rehabilitation and therapy.
Guests are asked to make a suggested donation of $20 to help offset Jim’s medical expenses. Prints of Gingerich’s “Lucy” will be available for sale.
Gingerich’s passion for painting can be summed up in one of his favorite Matisse quotes: When Matisse was asked if he believed in God, he replied, “Only when I’m working.”
For more information contact firstname.lastname@example.org
Image: Jim Gingerich, Lucy, 40 x 30 inches, oil on canvas
Thursday, August 25, 2016
Sara Nightingale Gallery is pleased to present, Autonomous Vehicles, opening Tuesday, August 23rd from 6:00 - 8:00 p.m. The exhibition will run through Sept. 27th.
In Kantian moral philosophy, autonomous means acting in accordance with one’s moral duty rather than one’s desires. A vehicle can be anything used to express, embody or fulfill something. Consequently, the exhibition title is open to interpretation and serves as a “vehicle" for hash-tagging words like #driverlessroadrage, #rubbernecking, #situationalawareness, #shotgun - words that seem to be driving our current socio-political culture.
Human error now equals #systemfailure. So who is to blame when something goes wrong? God, humans, political systems or machines?
What is autonomy, and who or what possesses it? Can those who are marginalized or disenfranchised attain it? How will we as a society transition into abdicating our responsibilities and freedom to machines - machines that will certainly affect our free will, our individual autonomy?
Scott Sandell’s “Kites” first appeared when, after thirty years of printmaking, he wanted to make his prints come off the wall and into three dimensional space. Once they did, they assumed their own personality and behaviors; spinning in the breeze or by the hand of an onlooker. Evan Yee’s, Carrier, a bronze sculpture of a drone made from twigs and sticks, contrasts nature with technological advancement, as do Cara Enteles' paintings on industrial substrates of weeds overtaking a garden. Other artists in the exhibition, such as Christian Little and Perry Burns, make references to social media and the internet, autonomous vehicles in their own right. Scott Bluedorn’s, Ark, made from photo transfers from a 19th century encyclopedia, brings an historical perspective to the exhibition, citing religion and chance as players in our individual and collective destinies.
Street artist ESSAM’s Drone Zone Signs, meant to look like standard issue NYPD parking signs, were placed in various locations around New York City in 2012. Next to the signs, he stenciled quotes from the founding fathers addressing the issue of liberty vs. safety. Alexis Martino’s photographs of young adults "playing" with guns, suggest that we can either surrender our autonomy to technology (and its efficiency) for the destruction of human lives or for the expansion of empathy. Christa Maiwald’s “Backwards” portrait of Donald Trump, reveals loose threads and knots on the underside of her embroidery work, while Yuliya Lanina’s surreal mythical characters inhabit a fantastical universe. In one of Lanina's works on paper, a huge head of a cat hovers over a female character dressed only in lingerie, the cat’s large eye a witness to a private moment.
For more information and images contact Sara Nightingale: email@example.com
*The gallery is open by appointment only. Please call before coming: 631-793-2256
image: Alexis Martino, Brenna & Julian in the Jeep, Digital C-print with plexi mount, 25" x 25"
E. Adam Attia a.k.a. ESSAM
Tuesday, June 7, 2016
Sara Nightingale Gallery is pleased to present Steven Kinder, Natural Forces, opening Saturday, June 18, from 6:00 - 8:00 p.m. The gallery will also present Steven Kinder’s solo installation, the burden, organized by curator Katherine Gass, at ArtHamptons, June 23 - 26, booth #205. http://www.arthamptons.com/ 900 Lumber Lane, Bridgehampton, NY 11932
Natural Forces, Steven Kinder’s works on paper and canvas created between 2013 and 2016, explore his fascination with dynamic tension found in nature. Tornados, tidal pools, sunbursts, black holes, combustion, organic symmetry and fractals are among the sources of inspiration for these deeply saturated and mostly large-scale works. Kinder’s drawings/ paintings - there are elements of both mediums in each work - express the radiant vitality and energetic playfulness inherent in his practice.
Concurrently, a multi-media installation by Steven Kinder, organized by curator Katherine Gass, titled the burden will be presented at ArtHamptons. The installation explores the survival systems and symbols of the homeless with the intent to raise awareness about the prevalence of those who remain unsheltered in major urban areas. Invisibility, fear, abandonment, levels of despair and street survival are brought to light through the use of recurring motifs such as a woman’s hunched body, a cross, a cup, a cardboard sign and a stained glass window. Taken individually, each has its own powerful resonance, but together they create a narrative about transcendence, pain, systems of commodity and exchange, institutional abandonment, and redemption.
Steven Kinder is a multi-media artist who works in Brooklyn, NY. He attended Cooper Union and has been making paintings, sculpture, and drawings for over forty years. Natural Forces and the burden will be the first-ever public exhibitions of Kinder’s work.
The gallery show runs through July 18th. For further information, more images or if you would like VIP tickets to ArtHamptons, please contact Sara Nightingale at firstname.lastname@example.org or 631-793-2256.
Tuesday, April 12, 2016
Sara Nightingale Gallery is pleased to present Steve Miller, Your Version, My Version, currently on view at the gallery. There will be a reception on Saturday, April 16th, from 5:30 - 7:30 p.m. The exhibition will run through May 15th.
After the opening please join us at Spring Fling at the Parrish Art Museum. It begins at 7:30 p.m. You can purchase tickets here: http://parrishart.org/SpringFling2016
Since 2005 Steve Miller has been taking X-rays of lungs: the lungs of our planet. It is the Oxygen/ CO2 exchange of the Amazon region that interests Miller in his Health of the Planet (HOP) series, a body of work in which X-rays of flora and fauna, as well as satellite images of the Amazon basin, inform his visual vocabulary. Science and technology have always factored in Miller’s art, technology being “the language of our times” and the means through which we all communicate. Like a scientist, Miller investigates and explores in his artistic practice. But rather than seeking a specific outcome, he strives for compelling images that inspire dialogue. Your Version, My Version includes paintings from the Health of the Planet series that examine relationships between organic forms and technical ones, the macro and the micro, photography and painting, representation and abstraction.
The series required Miller to travel to Brazil in order to work with a local hospital to procure X-rays of indigenous plants and animals. The specimens are “caught like patients under the scrutinizing eye of the X-ray”. Recent explosions in social, cultural and economic growth in the region have led to decay as much as they have to development. Depleted forests, overpopulated favelas, and endangered species all contribute to the asthmatic gasping of our global lungs. The need for electricity expressed in the tangled power lines of the favela might seem worlds away from the taxidermy trophy hanging on the walls of the elite, but these references in Miller’s work, however aestheticized and beautifully transformed, imply that everyone is complicit in global consumption and its impact on the environment, even if we have different “versions” of the causes, effects and solutions.
Steve Miller has an extensive international exhibition history including participation in museum shows at the Brooklyn Museum, the New Museum, the Bronx Museum of the Arts in New York, The National Academy of the Sciences in Washington, DC, the Aldrich Museum, the Albright-Knox Art Gallery, the Rose Museum and the Broad Art Museum in Michigan. In 2017 Glitterati will publish a 160 page monograph of his work of the last twenty years.
Also on view at the gallery: Highlights from SPRING/ BREAK Art Show: works by Monica Banks and Christian Little.
The gallery is open by appointment during the week, and from 11:00 - 6:00 p.m. on weekends. It is always advisable to call ahead. 631-793-2256
Sara Nightingale Gallery
688 Montauk Highway
Water Mill, NY 11963
Saturday, March 19, 2016
Christian Little, Exhibitionists #5, Acrylic on panel, 36" x 36"
Christian Little, Exhibitionists #2, Acrylic on panel, 36" x 36"
Christian Little, Exhibitionists #3, Acrylic on panel, 36" x 36"
Christian Little, Exhibitionists #13(Breakfast in Bed), Acrylic on panel, 36" x 36"
Christian Little, Exhibitionists #10 (Spa), Acrylic and mixed media on panel, 24" x 24"
Christian Little, Exhibitionists #12 (Tanning Bed), Acrylic on panel, 24" x 24"
Monica Banks, Anthem, 6 1/2" x 7 1/2" x 7 1/4", Hymn, 10 1/16" x 5 3/4" x 5 1/2", porcelain
Monica Banks, Ceremony, 9 1/2" x 7" x 7", Celebration, 8" x 7 3/4" x 7 3/4", Ode, 9 3/4" x 7" x 7", porcelain
Sunday, March 6, 2016
Curator: Sara Nightingale
SPRING/ BREAK Art Show, Room #3101
Skylight at Moynihan Station
421 8th Ave. at West 31st St.
Wednesday, March 2 - Sunday, March 6 12:00 - 8:00 p.m.
Monday, March 7 12:00 - 6:00 p.m.
Little Deaths brings together two artists who examine opposite ends of life’s spectrum. Christian Little’s Exhibitionists paintings address sex (the origin of life) and the “look at me” culture of oversharing, while Monica Banks’ sculptures of figures on the cusp of death consider life’s demise.
The French idiom for “orgasm", la petite mort, seems counterintuitive. Why the association of death with sex, the ultimate act of creation, replication, ⌘copy⌘paste? The little death can also refer to a short period of malaise, transcendence or climax that comes with the metaphorical and temporary suspension of one’s “life force”. Moreover, it has been used to describe a state of being one experiences when immersed in a great work of literature or art.
Monica Banks’ sculptures of miniature porcelain figures - humans as well as bees, mice and birds - depict organic forms on the threshold between life and death or replicas of the deceased. Her “domestic monuments” to suffering and lifeless creatures suggest narratives addressing the mass graves of major disaster sites, both natural and man-made, in which human forms are numerous and anonymous. Sometimes just one or two small dead beings evoke the moment a death is discovered or remembered. Tragedies both large and small are rendered in a modest scale, bringing into perspective an individual’s relationship to historical events.
Banks’ figures are presented on porcelain cakes and cake stands, which serve as tributes to the “victims” and stem from her empathy for her subjects. The cakes also explore themes of consumption, ephemerality and craft, as well as gender roles in the home. Broken dishes recall Julian Schnabel’s plate paintings of the 1980’s, but in contrast to his grandiose and baroque presentations, Banks’ assemblages of tiny “abject pottery” serve as humble artifacts of domesticity, archeological remnants of family, food and love.
Christian Little’s acrylic paintings on wood panel examine a voyeur culture preoccupied with sex, drama and the lives of others. His scenarios of "imagined actualities" are simultaneously voyeuristic and participatory, erotic and sterile, stiff and fluid, analytic and absurd.
Little’s Exhibitionists series, in which he places human “sculptures” on top of pedestals, references shunga, Japanese erotic prints from the 18th Century. However, while most shunga contain sexually explicit imagery, Little’s Exhibitionists paintings create sexual innuendo subtly, using abstraction and an elaborate combination of painting styles to depict his figures and their implied activities. Hair pulling, straddling, the lifting of fabric, movement under that fabric, smoking, etc… are some of the pursuits of his willing protagonists. The figures in the paintings seem unaware that they are being watched, though it is clear they are putting on a show for a suggested audience, viewers in an art gallery, perhaps, an ironic jab at the human desire for spectacle and immortality. Contemporary culture’s addiction to oversharing is intimated in the format of the paintings; their square shapes mimic Instagram posts and profile pics.
Little challenges the dimensional limitations of traditional painting through the use of trompe l’oeil and decorative painting techniques, using paint self-consciously to address painting’s history. Faux finishing techniques and simulated textures act as visual anchors in these wildly mannered works, alluding to the material world as well as the virtual and imagined.
Monica Banks lives and works in East Hampton, NY. Her work is held in the permanent collections of the Parrish Art Museum, The Islip Art Museum, The Museum of Contemporary Art at U Mass, Amherst, and The Catherine Konner Sculpture Park. She has exhibited at White Box, the Center for Architecture in NYC, The Carriage House at the Islip Art Museum, the Heckscher Art Museum and Sara Nightingale Gallery among other venues. She created “ Faces: Times Square,” a block-long sculpture which stood in Times Square from 1996-2009, for which she won an award from the NYC Public Design Commission. Her permanent public works are located in the Bronx, Binghamton NY, and Charlotte NC. She has been exhibiting sculpture and creating site-specific installations since 1989.
Christian Little lives and works in Kingston, NY. He earned his BFA ('05) and MFA ('15) in Painting/Drawing from SUNY New Paltz. He has exhibited at Dorsky Gallery Curatorial Projects in Long Island City and The Kingston Museum of Contemporary Art in Kingston, NY. Recent solo shows include The Silent Barn in Brooklyn, NY, Sara Nightingale Gallery in Water Mill, NY and The Hewn Arts Center in Jersey City, NJ.