Known primarily for her sculptures of sleek bronze birds, Sharon Wandel is also a painter of some renown. In this Inaugural Show and Season Opener at the newly located Lauren Clark Fine Art, both media of the artist will be on view.
The artist is a longtime Sculptors Guild member who joins poetry and nature with the metaphorical and realistic in her bold but delicate bronze sculptures which embodies the universal symbolism of freedom-the bird.
Having shown extensively in the Berkshires since the early 1990’s, Sharon Wandel has been represented by Lauren Clark since 2011. She has participated in over 100 shows and garnered upwards of 25 awards for her sculptural work, from New York to Japan and everywhere in between.
Born in Bemidji, Minnesota, Sharon Wandel earned an MA from Columbia University, a BA from Gustavus Adolphus College. She studied art at the Art Students League and at SUNY Purchase. She lives and works in New York.
Elected to the National Academy of Design, she has always enjoyed creative adventure that inspires her work; for example, a unique opportunity to show in Japan, study the language, study the culture, and interpret the experience in her art and expression.
My sculpture is created in wax, cast in bronze, and highly finished with a wide variety of patinas. The work employs abstract figuration based on life forms and archetypal images and often incorporates bits of still life and landscape. The current series deal with the multiplicity of metaphors related to the Bird throughout history. Many pieces may be placed in or outdoors. Many pieces are unique.
National Sculpture Society- Awards: Meisner 1994, Hexter 1993, Spring 1991, Meiselman 1990
National Academy of Design-Awards: Merit 1994, Cleo
Hartwig 1990, Ellin P. Speyer 2007; Elected NA 1994
Audubon Artists-Chaim Gross Foundation Award 1993
Allied Artists, NYC – Awards: Gapen Oehler 1995, Philip Isenberg 1998
North American Sculpture Exhibition, CO – 2nd Place 1991
Pen and Brush, NYC – Meisner Award 1990, Solo Show Award 1993
Silvermine Guild of Artists, CT – Solo Show Award 1993, Featured Artist 1997
Three Rivers Arts Festival (Carnegie Institute) – Purchase Award 1990
Hakone Open Air Museum -“3rd and 4th Rodin Grand Prize
Exhibitions Excellent Maquettes,” Japan 1992, 1990
Matrix Gallery-“Women Artists ’90”, Sacramento, CA First Prize Sculpture
Rahr/West Museum/Appleton Gallery/Charles Allis Art
Museum-Wisconsin Traveling Exhibit, WWIA- Cash Prize 1991
National Arts Club, NYC – Howard C. Adams Award 1989
Ariel Gallery International Competition, NYC -Group Show Award 1989
Salmagundi Club, NYC -Awards: McReynolds 1989, Barret Coleco 1988
Sundance Gallery National Competition, Bridgehampton, NY – First Place
Vermont Studio Center, Johnson, VT -Full Fellowship 2000
Westinghouse Corporate Collection, Pittsburgh, PA 1990
Art Students League Permanent Collection, NYC 1989
National Academy of Design, NYC 1994
Housatonic Museum, Bridgeport, CT 1998
Chamber of Commerce & Industry, Toyamura, Japan 1999
Pfizer Corporate Collection, Armonk NY 2000
ONE PERSON SCULPTURE EXHIBITS
Silvermine Guild of Artists, New Canaan, CT ’93, ’97, ‘2001
Pen and Brush, NYC 1994
Chappaqua Library, NY 1994
Clark Whitney Gallery, Lenox, MA 1994
James Cox Gallery at Woodstock, NY 1994, 1996
Cortland Jessup Gallery, Provincetown, MA ’98, NYC ’99, ’02
Riverpark Atrium, Norwalk, CT 1999
Gallery Marya, Osaka, Japan 1999
Laura Barton Gallery, Westport, CT 2000
The Firehouse Gallery, Damariscotta, ME 2000
Gallery Irohane, Sakai City, Osaka Japan 2001
Two 8′ bronze figures-male & female-for Ihilani Resort, Kapolei, Hawaii 1993
Anniversary piece-two 5″ figures-male & female-Silvermine Galleries 1993; other 1999
LEASE ANZ Bank Executive Offices, Americas Tower, NYC ’95-’96
Price Waterhouse, Chairman, Americas Tower, NYC 1996
SELECTED GROUP EXHIBITIONS
National Academy of Design, 1995-2007 (1998 Featured),
2004, 2005 (2006 Featured), 2007, 2008
National Sculpture Society, NYC 1996, 1994, 1993, 1991, 1989
Palazzo Mediceo in Seravezza, Italy (NSS) 1994
Knickerbocker Artists, NYC 1992,1990,1989
Art of the Northeast, New Canaan, CT 1992, 1989
Museum of the Hudson Highlands, Cornwall, NY 1990
James Cox Gallery at Woodstock, NY 1992-97
NY Society of Women Artists: Cork Galler at Lincoln Center
1991; Broome Street Gallery, NYC 1995,92,91; Warner
Communications, NYC 1989; Lever House, NYC 1998, 94, 93;
Kohn Pederson Fox Architectural Firm, NYC 1996; Carriage
Barn New Canaan, CT 1998; Noho Gallery 2000
Cavalier Gallery, Nantucket, MA 2000-01
Williamsville Sculpture Garden Invitational, Berkshires, MA 1995,2002
Cavalier Collection, Stamford, CT 1995
Elaine Benson Gallery, Bridgehampton, NY 1996
Chapel Street Art Gallery, New Haven, CT 1996-97
UConn Invitational, Farmington, CT 1996
Sculptors Guild at Lever House & in Soho, NYC 1998,1997
Stockholm, Sweden 2008
Northern Westchester Center for the Arts, NY 1997
Sculpture Now, Berkshire Botanical Gardens, MA 2001
Sundance Gallery, Bridgehampton, NY 1997, 1998
CW Nelson Landscape & Design, Sandisfield, MA 1998
Dora House (RBS), London, England 1997-1998
Sakai City Museum, Osaka, Japan 1998, 2001-02
Stamford Museum & Nature Center, CT 1998
Castle Gallery, College of New Rochelle, NY 1998
Silvermine Galleries, CT 1997-99 (Selections from the
National Academy of Design) 2001, 2006
Cortland Jessup Gallery, NYC 1998; Provincetown ,MA 1999-2002
Harper Collins, NYC 1998
Gallery Brocken, Tokyo, Japan 1999
The Contemporary Museum, Baltimore, MD 2000
The Butler Institute of Contemporary Art,
Youngstown, Ohio 2002
HBO, NYC 1999
Kimberly Greer Gallery, Northport, NY 1999-2001
Eastland Gallery, Portland, ME 2001
Between the Muse Gallery, Rockland, ME 1999
The Firehouse Gallery, Damariscotta, ME 1999-02
Laura Barton Gallery, Westport, CT 1999-03
Grounds for Sculpture, Hamilton, NJ (SG) 1999
Toyamura International Biennale, Hokkaido, Japan 1999
Canyon Ranch, Lenox, MA 1999-2003
Westchester Council/Katonah Museum, White Plains, NY 2004
Chesterwood Museum, Lenox, MA 2002 (SG),2001
Paesaggio Gallery, West Hartford, MA 2002-03
Leighton Gallery, Blue Hill, ME 2001-08
The Munson Gallery, Chatham, MA 2002-08
Berta Walker Gallery, Provincetown, MA 2002
Craven Gallery, Martha’s Vineyard, MA 2002-08
Elan Fine Arts, Rockland, ME 2003-05; Rockport, ME 2006-07
Clarke Galleries, Stowe, VT 2003-07; Palm Beach, FL ’04 (In Inventory)
Norman Rockwell Museum (Sculpture Now), Stockbridge, MA 2004
Gallery Yellow, Cross River, NY 2006-07
Flinn Gallery, Greenwich, CT 2006
Center for Contemporary Printmaking, Norwalk, CT 2007
Karin Sanders Gallery, Sag Harbor, NY 2007
Sculpture Barn, New Fairfield, CT 2007-08
Landing Gallery, Woodbury, NY and Rockland, ME 2008
The Wit Gallery, Lenox, MA 2008
Chace-Randall Gallery, Andes, NY 2008
Silvermine Guild of Artists, New Canaan, CT
NY Society of Women Artists, Past President
Sculptors Guild, Past Executive Board, Dr. Admissions
Allied Artists of America, Juror of Selection & Awards
Lamia Ink, NYC, past Advisory Board
National Academy of Design, NA -Curatorial Committees
Special Interest: Foreign Exchange
DESIGNER JEWELRY at:
National Academy Museum Shop,NYC 2002-2008
Elizabeth Day Lawrence, Greenwich, CT 2002-06
Jane Cottingham Jewelry & Antiques, Newtown, CT 2003-04
The Giving Tree Gallery, East Sandwich, MA 2003-04
Takashimaya, NYC 2003
Shaw Jewelry, Northeast Harbor, ME 2004
Sienna Gallery, Lenox, MA 2004
Elan Fine Arts, Rockland, ME 2005
Gallery Yellow, Cross River, NY 2006-07
Her work is included in the collections of the Westinghouse Corporation, the Pfizer Corporation, the Art Students League, the National Academy of Design, the Housatonic Museum, and the Toyamura Chamber of Commerce in Japan. Her work has been exhibited widely nationally and internationally — Japan, Italy, England, and Sweden. She is the recipient of many awards including the Hartwig and the Speyer Awards from the National Academy; the Meisner, Hexter, Spring and Meiselman Awards from the National Sculpture Society; a Chaim Gross Foundation Award from Audabon Artists; Allied Artist Awards; North American Sculpture Exhibition Prize; and full Fellowship to the Vermont Studio Center.
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!