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Modern Masters: a look at hyper-realism June 15 ? July 15, 2017


Published by Arte Ponte www.arteponte.org 1st edition Š June 2017 All rights served Printed in U SA


Arte Ponte Gallery presents is pleased to present MODERN MASTERS: A LOOK AT HYPER-REALISM, a group exhibition at our New York location, opening June 15th, 2017 and on view through July 15th, 2017. W hile the mediums and methods of today are infinitely diverse, these artists employ skills of the past to highlight concerns of the present. It is through these works that viewers are challenged to consider the inherent complexity of human nature.Each artist demonstrates an innovative spirit as they explore contemporary themes and topics through classical processes and techniques.

Exhibited artists include Gary Aagaard | Tucson, AZ, Erik Clark | Chicago, IL, Cesar Conde | Chicago, IL, Michelle Leavitt-Djonlic | Edmonton, Canada, Robert Markey | Ashfield, MA, Jan Nelson | W auna, W A, Hatidza Mulic | Athens, GA, Richard Ostroff | South Salem, NY, Christopher Parrott | Huntington, NY and Marek Slavic | Prague, Czech Republic.


Modern Masters: a look at hyper-realism show is an invitation to meditate on the individual and their relationship with the larger community. Artists Gary Aagaard, Cesar Conde, and Marek Slavik illustrate different responses to a society that is currently characterized by its sensitive sociopolitical climate; their works varying from overt commentaries to subtle observations. Hatidza Mulic and Erik Clark investigate our society though questioning self identity and the community perception. Meanwhile, the works of artists Michelle Leavitt-Djonlic, Christopher Parrot, and Robert Markey draw attention to connections. Their subjects are a celebration of humanity while simultaneously hinting towards a narrative of intimacy and vulnerability. The human experience is further investigated through the works of artists Jan Nelson and Richard Ostroff present us with a different angle on humanity, their narratives exclude human figure, leaving us with objects designed and left behind by man,so they become artifacts mirroring the society that produced them.

Modern Masters: a look at hyper-realism is a profound exhibition that asserts the artists? foundation in traditional techniques and how they can make it relevant today by demonstrating the unique vision of universal or vital topics of our life, while also moving viewers to forge an emotional connection within and beyond the gallery space. The show opening is 6pm Thursday, 8th June 2017, on the 7th floor at the 529W 20th Street, New York NY 10011 Curated by Victoria Borisova. Artist Statements and Photos will appear in following order: Christopher Parrott | Huntington, NY Michelle Leavitt-Djonlic | Edmonton, Canada Robert Markey | Ashfield, MA Gary Aagaard | Tucson, AZ Cesar Conde | Chicago, IL Jan Nelson | W auna, W A Erik Clark | Chicago, IL Hatidza Mulic | Athens, GA Richard Ostroff | South Salem, NY Marek Slavic | Prague, Czech Republic.


Chr istopher Par rott H untington, N Y In my work the contemporary gallery space is an arena where history continually recycles itself. The past represented in part by the fictional body of work hanging on the gallery walls - is in constant dialogue with the present. The figures themselves also reflect this tension between past and present, as they embody various recurrent archetypes from Western cultural history. This history is to me a treasure trove of tremendous beauty as well as a continuing story of perversity, folly, and unintended consequences. W here the Action Is, 2016 oil on canvas 33 x 55.9 cm (13 x 22 inches)

From left to right: Sins of Empire, 2017 charcoal on paper 20.3 x 27.2 cm (8 x 10.72 inches) On Balance, 2016 charcoal on paper 20.3 x 26 cm (8 x 10.72 inches)


M ichelle L eavitt- D jonlic Edm onton, Canada I am a social realist painter. Early in life I was encouraged and supported by family to experiment with watercolour, a medium I use exclusively today. I have always been drawn to the colour palettes and compositions of Edouard Manet and Diego Velazquez. Their ability to draw the viewer into the lives of their subjects within their painted masterpieces - this is both feeling and technique I use within my own work today. This careful balance allows me the opportunity to present to the viewer my connection with my subject and create their unique painted story.

Andeo Hat Models, 2017 W atercolour on watercolour paper 22 x 30 in


Rober t M arkey A shfield, M A

My work combines the visual and the conceptual. I want the visual statement to be profound, to be questioning and to be a source of inspiration and of beauty. Conceptually, my work often speaks about hope, about humor and about the human condition: what it is and what it could be. Currently I am working primarily in oil painting, sculpture and mosaic murals. In my paintings I work with layers of intense color creating a deep almost primeval feeling space. My sculptures are outdoor installations using steel, stone, glass, wood and mosaic. The sculptures often have a political or social motif. The murals are often done in collaboration with community organizations.

Nepalese woman at Temple, 2015 Oil on canvas 32 x 24 in (81 x 61 cm)

I have a vision of a peaceful world, a world based on justice, compassion and human dignity. As an artist my work comes from that vision and from the understanding of how different that vision is from reality. Because I have seen so much of the suffering and the joy in the world in the eyes of children, I often use their images in my work in an attempt to show people the vision of peace and hope which most children carry in their hearts. I attempt in my work to impact on an emotional level, to evoke laughter, tears or anger. It is the purpose of art, I believe, to confront, to challenge, to force the viewer to see and think about the world in a new and more profound way. It is my hope that experiencing my work will be one of perhaps many events that will influence people to envision and work for a more humane and just world.

Old W oman Laughing in Nepal, 2015 Oil on canvas 24x18 in (61x46 cm)


Gary A agaard Tucson, A Z My work is the product of my environment over the last three decades. Generally, I've had a positive experience yet tend to be irked by the frequent political and religious hypocrisy, general apathy (relating to war, the environment, fact-challenged pundits, etc.) and dogma of any stripe that leads to social and spiritual tunnel vision. These themes are prevalent in many of my paintings although are often explored using satire and humor as opposed to a sledge hammer (granted, I do use that on occasion, too). That said, during those infrequent times I step off my battered soap box, I paint pieces which will hopefully provide edification or simply a chuckle.

Left to right: Trumpcula: Old Habits Die Hard 2016 15 x 50 in (38.1 x 127 cm) The Dulling, 2014 oil 20 x 24 in


Cesar Conde Chicago, I L ?My weapons against injustice are my paints and brushes.?Conde I grew up believing that art was meant to beautify a space. I still believe that. That is why I love colors, abstractions and other forms of expression. But I also ask, ?W hat if an image can change the world?? That to me is more beautiful and powerful. I choose difficult issues because I know that art can make a difference. They deal with pain, racism, police brutality, poverty and society?s illness. But I have faith in humanity to make change. I have faith in humanity to make things right. I have faith in humanity that in pain, there is beauty. That beauty is the light of compassion. That light springs action. The action is to make things right. To see each other eye to eye and know that W E are the same and equal. 'In The Hood - Portraits of African American Professionals Wearing a Hoodie' was created shortly after the murder of Trayvon martin in the summer of 2013. It's about "Perception" and Reality and the profiling and racism that black and brown bodies experience everyday. More magnified in Trump's America.

In The Hood - Portraits of African American Professionals W earing a Hoodie - 3, 2013 Technique Mixte on canvas 48 x48 in


Jan N elson Wauna, WA I am drawn to the relationship between nature and man, the dance that plays out over time as the forces of nature exert themselves, bringing changes to things made by humans and vice versa. This manifests as a series of photographs of machines or structures in environments where the passage and effects of time are evident or implied. Other compositions might be comprised of imagery where juxtapositions of natural and manmade elements provide the desired contrasts I want to express. My drawings are also based on and inspired by my photographs.

Conversations with Don, 2014 Graphite on Strathmore rag 23 x 29 in


Er ik Clark Chicago, I L

The Merging of many different mediums and worlds to build a story or understanding, are at the core of my work. I tend be a jack of all trades and very multidisciplinary. My focus extends to fashion, illustration, mask making, sculpture, collage, painting, drawing, installation, and of course mixed media. The fact that I take such a huge variety and am able to seamlessly combine materials together is strength of mine. I take pride in building work that expresses the idea of representing real culture and imagined culture in a variety of ways. I may work with many different themes, but centrally I work to bring convolution into clarity.

Un-United States of Jordan, 2017 Paper, faux leather charcoal, graphite, acrylic paint, watercolor, photo collage, metal zipper, 24x20 in ( 61x51 cm)


H atidza M ulic Athens, GA W ith this body of work I am exploring the visible and invisible about the human nature. Ever since I was a child I have been fascinated by the essential unreality of the human condition. W hat starts out as hope soon becomes corrupted into a carnival of lust, leaving only a sense of nihilism and the dawn of a new beginning. I have always endeavored to go where I thought the point of view of another individual is? to arrive at another?s viewpoint. This destination was the key to wholeness? but I had always felt exhausted and drained of energy, more like a battle-weary warrior than a woman giving herself to others. In these, the new sense of fragmentation only comes when they are viewed simultaneously, but each painting is a whole, a whole persona. We personally desire respect, inclusion and recognizing from others, while often, in return, we only offer sarcasms, sexisms and cynicisms.

Bosnian Resurrection, 2016 oil on canvas 36 in x 48 in (90 cm x 120cm)


R ichard O stroff South Salem , N Y

I have always been interested in the extraordinary beauty of the extraordinarily ordinary. Everyday objects and their functioning elegance are the creative springboard for my appreciation, my inspiration , and my work.

CHROME FAUCET 2017 Oil on canvas 72 X45.5 in


M arek Slavic Prague, Czech R epublic This series of paintings aims to objectively and very specifically reflect the world which was awarded to us for use. The world that we are thoughtlessly liquidating, the world in which we are, not without complications, finding our place and ourselves. Everything on the planet which has formed and evolved for millions of years we can deny and destroy by the blink of an eye during our unwillingness to think in a broader context and our boundless desire for domination over nature and over ourselves. A gas mask as a central motif is reflecting the current efforts to gain power domination over key territories of our world and not only this. The gas mask also demonstrates a distance of a person as an individual from natural harmony with the world, where is a lord of the world using a gas mask trying to protect himself against the consequences of his actions. Positions of body in heroic gesture adds emphasis on reflection, where is the toxic cloud symbolizing, in the faint outline, dying patient?s heart or death of our planet ? slowly dissolving.

W hat would destroy the Earth 1, 2015

W hat would destroy the Earth 2, 2015

W hat would destroy the Earth 3, 2015

Acrylic and oil painting on canvas 19,68 x 19,68 in (50 x 50cm)

Acrylic and oil painting on canvas 19,68 x 19,68 in (50 x 50cm)

Acrylic and oil painting on canvas 19,68 x 19,68 in (50 x 50cm)


A bout Us Address ARTE PONTE Gallery is part of the Arte Ponte NGO organisation.

Venice, Italy

Palazzo Croner Spinelli ARTE PONTE is a Swiss non-profit association and institute that supports its members who are emerging and established visual artists, curators, designers and architects as well as and professionals within the art-world by fostering connections to a network of opportunities. Since 2009, the association has been promoting artists during selected art fairs in Paris, Venice, New York, Miami, Basel and Austria. ARTE PONTE is present in three countries; with administrative offices in Basel, Switzerland; its global HQ (as of Jan 2017) cultural institute and exhibition space is in Venice, in Palazzo Corner Spinelli; and since 2013 in New York, where Arte Ponte hosts exhibitions with support of JanKossen Contemprary gallery in Chelsea, for selected curated exhibitions during Summer.

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Contact Email: hello@arteponte.org


I M PR ESSU M CONCEPT, EDITING, AND REALIZATION Jasmin Kossenjans DESIGN Victoria Borisova PHOTOGRAPHY Provided by Artists TEXT Provided by Artists

No part of this book may be reproduced, stored in a retrieval system or transmitted in any form, or by no means, electronic, mechanical, photo-copying, recording or otherwise, without prior permission of the publisher.

Published by Arte Ponte Cultural Institute www.arteponte.org 1st edition Š June 2017 All rights served Printed in U SA

Modern masters catalog  

Modern Masters: a look at hyper-realism Exhibition: June 15th- July 15th, 2017. Vernissage opening Thursday 15th June, 6 pm - 8 pm This...

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