Lauren Clark Fine Art and Framing on the Edge are happy to announce we are all moved in, freshly painted, newly arranged, and up and running at our new location!
Our new address is 325 Stockbridge Road (RT 7) in Great Barrington
Come by President’s Weekend for a
sneak peek at our new space and a bit of bubbly!
Friday and Saturday from 5-8
Stay tuned for the date of our Grand Opening in Early Spring
Our fabulous new location also provides us with beautiful outdoor space for sculpture and events beyond what we have been able to do in our other locations, not to mention there’s lots of parking right out front. We have a number of compelling shows and collaborations coming up this season so we hope you’ll check in soon to see what we are up to.
“There are modes of Realism in which the depiction of concrete detail is so concentrated – and so obsessive – that the visual result bears a distinct esthetic kinship to pictorial abstraction. Richard Britell’s paintings are a particularly vivid example of this phenomenon. Mr. Britell’s subject matter is drawn from the world of pre-modernist architecture. What he focuses on are brick facades, stonework structures and the elegant decorative embellishments that were once a standard feature of the gothic revival, neo-classical and other historicist styles of American urban architecture. These he depicts with a great deal of pictorial force. Only rarely, however, does the imagery in Mr. Britell’s paintings offer us much in the way of social documentary – or social commentary. (The broken window that we glimpse in a brick facade in the painting called ”Bank Row, Syracuse,” for example, is unusual.) It is the design element in this architecture that interests him – the density and regularity of its formal detail, say, or the handling of light and shadow in conception of a complex outdoor structure. Often the facade of a building is observed in the kind of close-up view that becomes, in effect, the equivalent of a geometrical abstract painting.
He is particularly good at painting brickwork, stone window frames and decorated entrances. He has a very analytical eye, and he commands an impressive technique. If there is also an element of nostalgia in these paintings, it isn’t particularly bothersome. After all, we all have ample reason to cherish this architecture today, and Mr. Britell’s homage to it proves wholly equal to its quality.”
-Hilton Kramer New York Times
This contentious election season is like no other in memory. Media pundits are in a feeding frenzy, never at a loss for words, unlike political satirist, Geoffrey Moss, whose conceptual images are a word-free exhibit.
Recognized as a pioneer, Moss was the first to be nationally syndicated with sans caption political “cartoons”. Of his provocative graphics he says, ”I want my readers relying on their intellect, unencumbered by traditional distracting captions and speak bubbles. I want readers to be as emotionally speechless as I when confronted with the body politic. I then draw. We are now a visually dependent society who must draw conclusions from my metaphors, then react.”
Early on in his career, Moss was an art restorer at The Metropolitan Museum while also free-lancing for the New York Time’s Op-ed pages. At the beginning of the of Watergate investigation he contacted the Washington Post whose editors were aware of his graphics, however until then no captionless art had ever appeared on their editorial pages.
Though not encouraging, Stan Hinden, Op-ed page editor suggested Moss present “a few concepts” in D.C. Moss presented over 25 sketches, specifically created for The Post, ideas anticipating events rather than based on any editorials requiring illustrations. Shortly after, his drawings began being published in the Washington Post, documenting all things political. Moss’s early days at the Post were eventually celebrated in that paper’s special Nixon Resignation Issue; some printed as full-page works. His Watergate series drawings received a Pulitzer nomination followed by a book of his work The Art and Politics of Geoffrey Moss, and a contract as a founding member and the first “cartoonist” signed with The Washington Post Writers Group, a relationship lasting 23 years. Currently, Creators Syndicate in LA represents MOSSPRINTS, and has nominated him again for a Pulitzer for his 9/11 works.
Moss’s political works have been exhibited world wide including the Pompidou, The Kennedy Center, The National Press Club, The Newseum, and The Smithsonian Institution. He has also been an essayist on NPR and a panelist at the National Holocaust Museum. In addition, Moss has taught conceptual thinking at Parsons/The New School and The Pratt Institute.
Commissions include a conceptual drawing of Norman Rockwell’s studio for the celebration of Rockwell’s 100th Birthday, and for the occasion of Martin Luther King’s same, a painting, “Bus with White Walls”, which travelled to seven major museums including The Smithsonian.
Says Moss of his work, “Fortunately, I get to throw stones as well as paint them.”
Join us on Sunday, August 21, from 11-1pm for a painting demonstration and artist talk with painter and performer, Douglass Truth.
Douglass Truth is a painter, writer, and performer.
Born in 1953 in Indianapolis, Indiana, into a family famous for its mechanics, bricklayers, and lawyers, Douglass Truth was cursed from the beginning with a heightened sensibility combined with very poor taste. Attempts at remedial education throughout the years have met with uncertain results, leaving him with a reputation as mixed as his media.
He has worked as a civil engineering designer and surveyor during the pipeline years in Alaska, a chef, building dismantler, English teacher, and as a software salesman in Taiwan. He owned and operated a graphic design and silk-screen company, Flying Turtle Graphics, supplying his own unique designs on T-shirts, coffee mugs, and posters.
Truth began painting in 1996, and has been represented by galleries in California, Arizona, Indiana, New York, and Connecticut.
After a serious illness in 1998 Truth closed his business in order to devote himself entirely to painting and writing. “After such a confrontation, or voyage, or whatever it was,” he said, “you find out what is really important to you. I found that out, and am fortunate enough now to be able to do it.”
Truth has done performance work with The Black Valley in Grass Valley. He was a founding member and president of the board (2002-2006) of the Storefront Artist Project in Pittsfield, MA. He wrote and published three books, I Am A Dog, Revolution of Flowers, and Everything I Know About Death (Subject to Verification.)
Truth lives in Nevada City, CA, and is currently preparing for multiple tours of his theater piece An Intimate Evening With Death, Herself.
“The Dog Doesn’t Know Anything” acrylic on canvas, 18″ x 24″
We living beings at some ease in our overly-constructed realities sometimes need a little shock to wake us up to the bigger reality we’re always in whether we realize it or not. I’m not an artist who sets out to shock anyone simply to do so; there are too many such artists at any given moment. Shock for its own sake is little more than annoying; just more noise and less signal.
My premise is that we living beings constrict our reality based on ancient habits and even more ancient genes; we make a seemingly safe little world which we inhabit as the central and crucial character. But the worlds of the non-living and the non-human continue to exist whether we pretend otherwise or not. What are our entry points into these other realms? I’m not sure but I go on the premise that they exist, and that I’m not―totally, at least―crazy. I’m talking about a living and evolving universe; it’s alive and evolving through and with us.
In my paintings, writings and performances, the harlequin, the clown, and other, more mysterious (to me, at least) characters show up to show us, in ways difficult to articulate in our normal linguistic fashion, in which directions we might be coming from, and which we might be going to. To encourage us to take a deeper look, not into the fashionable recreations of the other-worlds and under-worlds that can be found without looking very hard, but into what’s really going on around us in the corner grocery store, our kitchen, our place of work, the cities in which we somehow, miraculously, find ourselves living.
“A Dog Dreams” acrylic on canvas 36″ x 48″
Great minds don’t always think alike, and in the case of these three colorful artists this rings especially true. There is no common theme here-just three career painters whose work I really like-each with their decidedly individual personality and style.
Julio Granda – “Feral Nebulae #XXVIII” 5″ x 5″
Julio Granda refers to his latest body of work, painted for this show, as “Feral Nebulae”. Tiny, rich works thick with paint coming in and out of focus as starscapes and abstractions. For Granda feral is as much akin to freedom as it is to wildness, and these paintings reflect this theory. His is an expansive view which includes the very definition of nebulae; as quoted from the New Oxford American Dictionary, “A cloud of gas and dust in outer space, visible in the night sky either as an indistinct bright patch or as a dark silhouette against other luminous matter”. This is the artistic world of Julio Granda.
Douglass Truth – “Dream of Persimmons” 48″ x 48″
Douglass Truth on his work as a painter-“In my paintings, writings and performances, the harlequin, the clown, and other, more mysterious (to me, at least) characters show up to show us, in ways difficult to articulate in our normal linguistic fashion, in which directions we might be coming from, and which we might be going to. To encourage us to take a deeper look, not into the fashionable recreations of the other-worlds and under-worlds that can be found without looking very hard, but into what’s really going on around us in the corner grocery store, our kitchen, our place of work, the cities in which we somehow, miraculously, find ourselves living”.
David Eddy – “Girl with Flower” 28″ x 24″
David Eddy paints wild and wonderful work, haunting and imaginative, managing to make portraits that are sweet and somewhat eerie at the same time. Self taught, he pours a palpable raw energy into his painting-often chasing after images that reveal themselves during the creative process. Delightfully unique faces peer out at the viewer and areas of dazzling yet subdued color show through his scrapings and burst into life across the picture plane.
For more information please contact the gallery.
Lauren Clark Fine Art presents performances of Douglass Truth’s one-woman show An Intimate Evening with Death, Herself Thursday, August 11 through Sunday, August 14. The show is about 90 minutes long, and is suitable for young teenagers to adults.
Dorothy, a middle-aged waitress, meets Death in a bar. He’s unhappy, bored, and ready for something new. So is she. They repair to a Denny’s Restaurant for a snack. And, after 49 solid days in a back booth at a Denny’s restaurant, she replaces him.
As Dorothy herself says, “We met. One thing led to another—as usual—and now I’m it. Death. And with all due respect for the previous occupant, our new regime is going to be all about a friendlier face for Death, including education, outreach, and much more.”
As one example she cites the new Death Pre-Registration Card that allows you to set up an account, get a minion assigned to your case, as well as make a list of your life regrets before you die. “It’s amazingly handy and easy to use,” says Dorothy.
While Death is unfortunately still mandatory, Dorothy claims that there are exciting new options and upgrades in the works. “You can’t cheat Death,” she says, “but you can work with me.”
Douglass Truth is a painter, writer, and performer. He has been represented by galleries in New York, Massachusetts, Arizona, Indiana, and California. He is the author of 3 books: I Am A Dog, Revolution of Flowers, and Everything I Know about Death, Subject to Verification. Truth lives—for now—in Nevada City, CA, but is contemplating opening an actual small teahouse somewhere in Montana.
Lauren Clark Fine Art presents “Interiors”, new paintings by four local Massachusetts painters, Bart Arnold, Kate Knapp, Carolyn Letvin, Tina Sotis. Also introducing Susan Gott, a glass artist from Tampa, Florida.
Kate Knapp “My Bedroom” 36″ x 36″ oil on canvas
Carolyn Letvin “Interior #30″ 11″ x 11” oil on panel
Tina Sotis “Symphony” 18″ x 18″ oil on canvas
Bart Arnold “Tables” 18″ x 21″ acrylic on panel
Susan Gott ” Passageways Red” 33″ x 25″ x 11″ cast glass
Well, it turns out it is really the 151st, but who’s counting!
Join us at the gallery for a 3 day marathon reading of Alice! Local actors and other great read-alouders young and old will be reading chapters from the beloved book by Lewis Carroll. There will be special editions of the book available for purchase provided by Matt Tannenbaum of The Bookstore in Lenox. And in addition to gallery artists’ work, Alice inspired art by local children’s book author and illustrator, Adam Gudeon will be on view. The gallery will be open as usual and readers will be taking turns reading throughout the day(s) in an informal yet engaging way. No reservations necessary, drop in any time for a chapter or two-you never know which fabulous local celeb might be reading at any time!
Tea will be served.
Just a few of the many wonderful local celebs who’ll be reading this weekend are Elizabeth Aspenlieder, Rudy Bach, Rikke Borge, Kale Brown, Amber Chand and Henry Strozier. In addition, on Sunday afternoon at around 2:30, award winning audiobook narrators Jim Frangione and Alison Larkin will be stopping by to read. Jim Frangione is a well known actor based in the Berkshires. Alison Larkin is the bestselling author of The English American, an acclaimed comedienne, and the narrator of over 130 audiobooks including, Alice in Wonderland and Through the Looking Glass – the 150th anniversary edition, which received rave reviews and was recorded here in the Berkshires at Berkshire Media Artists!
Beautiful, inviting table settings, tasty scenes, and still life in oils. Terry’s distinctive style employs layers of patterning, rich colors and textures reminiscent of textiles. A beautiful visual accompaniment to the colorful flavors of Castle Street Cafe!
Lauren Clark Fine Art presents “As Was and As Is”, works on paper by Franco Pellegrino. In the late 1960’s George Miller of Miller Supply in Pittsfield, MA purchased reams and reams of “reject” paper from Mead paper, later coined “Miller’s Special”. The paper was meant for use in photography but inconsistencies in the heft of the paper made it unworkable for the intended use.
After storing the paper for almost 10 years, in the late ’70’s Miller began cutting it up and selling it in large rolls in 15 to 20 foot lengths. As a painter, Pellegrino was intrigued by the sheer size, and as it turned out, the wonderful texture of the “no good for photography” paper. And although some of it had been damaged in storage he found inspiration in the damaged parts and often integrated them into the many large mixed media paintings he produced in the 1980’s and 90’s.
As time went on the paper became available only in smaller and smaller sizes and only in pad form. Pellegrino has continued to work on this special paper and in addition to the large paintings the show will be highlighting, there are many small paintings on this same paper making their gallery debut.
In many of the works in this collection Pellegrino manages to integrate drawing with painting in a most striking and effective way. The artist includes figurative, landscape and abstract work in his repertoire, some bright, some dark, but all with a wonderfully free and expansive feel.
This exhibition of large scale paintings represents the long-term outcome I’ve been working toward for many years. The history of “Miller’s Special Paper” and its many uses will be documented in this exhibit.
The opportunity for me to share these works, completed in the late 1980’s and early 1990’s, brings a renewed energy capturing that time period complete with the excitement and urgency to record my reactions to life’s challenges.
The sheer size and durability of this unique paper has allowed me the freedom to express myself both physically and emotionally through various uses of mediums and techniques.