Posts by Shifra Ahlers

  • Start Your New Year with Momentum

    What will your story be for 2019?
    by Shifra Ahlers
    Momentum on Broadway, downtown Asheville's newest contemporary art gallery, located at 52 Broadway Street, hosts a storytelling event with local printmaker and raconteur Andy Farkas, New Year's Day 2019.
     

    Tuesday, January 1, 2019

    2:00 pm

    Free and Open to All Ages

    Refreshments served

     

    Andy's beloved fables are inspiring to young and old alike. We encourage you to plan a visit to Momentum on Broadway for this special welcome to the new year! What will your story be for 2019?
     
     
    Andy Farkas, THE TRANSFORMATION, Moku hanga, 11-1/4 x 8-3/4 inches, Edition of 70
  • CONTEXT Art Miami

    Tickets Available for Miami Art Week
    by Shifra Ahlers

     

    Momentum Gallery is proud to announce our return to Miami Art Week in early December! We look forward to seeing the many collectors and friends that we met at the last two Miami art fairs and in our downtown Asheville art gallery over the past few months. We have enjoyed participating in Miami's dynamic and cosmopolitan art market, and it's an honor to have been selected to join CONTEXT Miami, December 4-9th, 2018.

     

    We are bringing incredible new work by six Momentum artists to the celebrated contemporary art fair – this one is not to be missed!  We are excited to represent Asheville in Miami's prestigious, international art event with dramatic new works by Samantha Bates, Hoss Haley, Ron Isaacs, Anne Lemanski, Michael Enn Sirvet, and Tim Tate. If you can't make it to Miami, be sure to keep an eye out on our Instagram page in December. If you would like complimentary tickets to CONTEXT, please call the gallery at 828-505-8550 or email alison@momentumgallery.com – we are happy to assist you.

  • Upcoming Art Fairs

    SOFA CHICAGO & CONTEXT MIAMI
    by Shifra Ahlers

    Momentum Gallery is thrilled to return to SOFA Chicago at Navy Pier, November 1-4! We are eager to connect with artists, collectors, and friends new and old. The gallery is assembling a stunning collection of sculpture and furniture in a variety of media by fifteen artists for the international fair which celebrates its 25th anniversary this year! Several Momentum artists plan to attend, and we'd love to see you there! If you are interested in attending SOFA, please call the gallery at 828-505-8550 or email alison@momentumgallery.com so we can provide you with complimentary tickets! 

     

     

    Additionally, Momentum Gallery is proud to announce our return to Miami Art Week in early December! We look forward to seeing the many collectors and friends that we met at the last two Miami art fairs and in our Asheville gallery over the past few months. We have enjoyed participating in Miami's dynamic and cosmopolitan art market, and it's an honor to have been selected to join CONTEXT Miami, December 4-9. We are bringing incredible new work by six Momentum artists to the celebrated contemporay art fair – this one is not to be missed!  If you can't make it to Miami, be sure to keep an eye out on our Instagram page in December. If you would like complimentary tickets to CONTEXT, please call the gallery at 828-505-8550 or email alison@momentumgallery.com – we are happy to assist you.

     

  • Artist Reception: Friday, October 5th, 5-8pm

    Wine and Refreshments with the Artists
    by Shifra Ahlers

    Mariella Bisson, Otter Falls, North Carolina, Oil and mixed media on wood panel, 50 x 38 inches
     
    Please join us at Momentum Gallery's downtown Asheville, 24 N Lexington, location for an Artist Reception, Friday October 5,  from 5-8 pm, in conjunction with the current group, nature-themed exhibition Transformation. Accomplished landscape painter Mariella Bisson, and renowned wood artists David Ellsworth and Ron Layport will be in attendance for the reception which is free and open to the public. Andy Farkas and Bill Hall also plan to attend.
     
    This reception welcomes back Mariella Bisson to WNC for the first time since April when she visited to explore the region's waterfalls that resulted in a number of the new oils featured in Transformation. In fact, the gallery just received two new oils from Bisson: Otter Falls, NC and Tom's Creek Falls, NC. This occasion marks the first time wood sculptor Ron Layport is visiting Asheville, and we are pleased to announce Layport is bringing his latest turned and sculpted wood vessel, A Gathering of Antlers. So, even if you've been by previously to see the exhibtion Transformation, there's reason to come back! 
    Ron Layport, A Gathering of Antlers, Turned, sculptued, and pigmented Maple vessel, 14-1/4 x 9-3/4 inches
     
    The group exhibition, Transformation: Earth, Water & Wood features recent work by five Momentum artist partners: Mariella Bisson, oil painting with collage; David Ellsworth, wood; Vicki Grant, porcelain and mixed media; Ron Isaacs, trompe l'oeil painting on wood; and Ron Layport, wood. New York painter Mariella Bisson turns her attention to our regional waterfalls, depicting dramatic scenes of stone, water, and woods in her signature style. Bisson deftly delineates the sculptural planes of her subjects and often selects scenes that represent metaphors for adaptation and change. Trompe l'oeil master Ron Isaacs refers to his work as being "exactly halfway between sculpture and painting." His birch plywood constructions, painted with acrylic, often portray the illusion of shirts or dresses (representing the figure) in the midst of a state of metamorphosis into foliage and branches. 
    David Ellsworth, Black Pot - Dawn, Large, Figured Ash, 8-1/2 x 11 x 10-1/4 inches 
    Transformation also proudly presents work by two renowned American wood artists, David Ellsworth and Ron Layport. Ellsworth, who recently relocated to the Asheville-area, is a preeminent wood turner with work in 36 museum collections around the world, including the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, and the Museum of Fine Arts Boston. Ellsworth's aesthetic embraces nature's irregularities and might be compared to the Japanese principle, wabi-sabi, where anomalies that arise through the process of making add uniqueness and elegance to the work. Ellsworth's turned work is done on the lathe while the wood is still green, allowing for unusual things to happen as the turned forms cure and dry. Precisely rounded vessels may become oblong and asymmetrical, or even split open -Ellsworth welcomes these effects as part of his creative practice. Some might find it curious that the masterful woodturner's latest series isn't turned at all. For his Ascension series, Ellsworth cuts blocks of burled wood into concentric rings, then telescopes them out into dramatic, towering spires. Interestingly, Ron Layport first learned how to turn wood in a class led by David Ellsworth. Over the past 30 years, Layport has established a place among the top wood artists in the world. Layport uses negative space as a design element, carving intricate patterns of wildlife and habitat into the surfaces of his turned vessels. The results are complex relief carvings that maintain the integrity of the original form despite having been completely transformed
     
  • Andy Farkas releases a new Moku Hanga Print!

    Strength of No Force Comes with a Chatbook too!
    by Shifra Ahlers

    Andy Farkas, Strength of No Force, Moku Hanga, 11 x 9 inches, Edition of 60

     

    We are thrilled to announce that Andy Farkas has a new moku hanga print available! His latest print, titled, Strength of No Force, comes with an original chat book by the artist, Magic, which beautifully compliments his editioned image. Farkas tells a tale of the grey wolf who finds himself in a lush garden in this eloquent short story. The handset letterpress type on this piece reads: "Failing the challenge illuminated the choice he never realized he had, the strength of no force."

     

    Followers of Andy's work often ask about the stories that each print comes from -This is your opportunity to acquire his newest print and the story related to it (as a special bonus)! 

     

    Andy Farkas will be in attendance at our upcoming Artist Reception on Friday, October 5th, from 5-8pm at our downtown Asheville art gallery at 24 N Lexington Avenue. Come meet the artist and have a drink with us! We look forward to seeing you!

     

    We are privileged to represent Andy Farkas and look forward to sharing his newest print and chat book with you! Please call the gallery to reserve your personal copy of this special release orginal woodblock print and accompanying chat book at 828-505-8550.

     Andy Farkas, More than enough, Moku Hanga, 14-1/2 x 5-1/2 inches, Edition of 51

     

  • Transformation: Earth, Water, and Wood & Samantha Bates

    OPENING RECEPTION AUGUST 30th, 5-8PM: Meet the Artists!
    by Shifra Ahlers

    TWO MULTIMEDIA, NATURE-THEMED EXHIBITIONS 

    OPENING at MOMENTUM GALLERY on AUGUST 30th

    On Thursday, August 30th, from 5-8pm, Momentum Gallery invites you to the Opening Reception for the group exhibition, Transformation: Earth, Water & Wood along with a collection of new paintings and textile works by Samantha Bates. Artists Ron Isaacs, David Ellsworth, Vicki Grant, and Samantha Bates, along with other Momentum Gallery Artist Partners, will be in attendance! We are so pleased to be showing such innovative work at our downtown Asheville art gallery! The reception takes place at the gallery's 24 N Lexington Avenue location and is free and open to the public. All are welcome. These exhibitions continue through October 31st

     

    Ron Layport, Return to Gardens, Turned, sculpted, and pigmented Maple, 10-1/2 x 6-1/2 inches

     

    The group exhibition, Transformation: Earth, Water & Wood features recent work by five Momentum artist partners: Mariella Bisson, oil painting with collage; David Ellsworth, wood; Vicki Grant, porcelain and mixed media; Ron Isaacs, trompe l'oeil painting on wood; and Ron Layport, wood. New York painter Mariella Bisson turns her attention to our regional waterfalls, depicting dramatic scenes of stone, water, and woods in her signature style. Bisson deftly delineates the sculptural planes of her subjects and often selects scenes that represent metaphors for adaptation and change. Trompe l'oeil master Ron Isaacs refers to his work as being "exactly halfway between sculpture and painting." His birch plywood constructions, painted with acrylic, often portray the illusion of shirts or dresses (representing the figure) in the midst of a state of metamorphosis into foliage and branches. 

     

    Ron Isaacs, Little Sister, Acrylic on Birch plywood construction, 32 x 22-3/4 x 3 inches

     

    Vicki Grant has developed an exciting new body of free-standing sculptural totem forms inspired by an intersection of nature and literature. Maurice Sendak and Edgar Allan Poe are some of the writers Grant cites as influencing the direction of her most ambitious project to date.  Towering individual forms installed as modular trios and larger ‘families’ evoke the idea of a whimsical forest. Highly-textured ceramic serves as the jumping-off point for imaginative columns embellished with found natural objects, carved wooden birds, and even basketry (a collaboration with Montana Blue Heron).

     

     Vicki Grant, Botanical Series #18042, Porcelain and mixed media on slate, 24 x 12 x 2 inches

     

    New Botanical wall tiles are inspired by things one would see in the woods. Textures of tree bark and imagery suggestive of toadstools and lichen, foliage and wildflowers all coalesce in abstract dimensional works that are an unexpected alternative to traditional paintings and wilderness photography. The works nod to Grant’s background in architectural design through compositions of seed pods and bundled reeds or gathered horsehair, organized to form elaborate structured patterns.

     

     Vicki Grant, Windows to the Earth #18020, Porcelain and mixed media on slate, 12 x 12 x 2 inches

     

    Momentum Gallery is pleased to represent Vicki Grant and present her newest work in relationship to other artists whose work references the bounty and wonder of nature.  The textures and palette that define Vicki Grant’s work complement the surfaces and forms that make up Mariella Bisson’s contemporary landscape paintings and original collages. Grant’s work relates to vessels and sculpture by world-renowned wood artists David Ellsworth and Ron Layport through shared inspiration, reference to material, and (in the case of the latter) intricate surface carving.  Ron Isaacs’ fantastic garments which transform into and out of wildlife and botanical imagery complete the collection. 

     

     David Ellsworth, Mataak #2, Ash, 30 x 20-1/2 x 12 inches

     

    Transformation also proudly presents work by two renowned American wood artists, David Ellsworth and Ron Layport. Ellsworth, who recently relocated to the Asheville-area, is a preeminent wood turner with work in 36 museum collections around the world, including the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, and the Museum of Fine Arts Boston. Ellsworth's aesthetic embraces nature's irregularities and might be compared to the Japanese principle, wabi-sabi, where anomalies that arise through the process of making add uniqueness and elegance to the work. Ellsworth's turned work is done on the lathe while the wood is still green, allowing for unusual things to happen as the turned forms cure and dry. Precisely rounded vessels may become oblong and asymmetrical, or even split open -Ellsworth welcomes these effects as part of his creative practice. Some might find it curious that the masterful woodturner's latest series isn't turned at all. For his Ascension series, Ellsworth cuts blocks of burled wood into concentric rings, then telescopes them out into dramatic, towering spires. Interestingly, Ron Layport first learned how to turn wood in a class led by David Ellsworth. Over the past 30 years, Layport has established a place among the top wood artists in the world. Layport uses negative space as a design element, carving intricate patterns of wildlife and habitat into the surfaces of his turned vessels. The results are complex relief carvings that maintain the integrity of the original form despite having been completely transformed.

    Samantha Bates, Hoodsport, Pen, acrylic, screenprint, pastel, and colored pencil

    on unstretched canvas, 100 x 90 inches

     

    Momentum Gallery is also thrilled to debut a collection of new mixed media paintings and textile works by Samantha Bates. Bates' contemporary landscapes are created through meticulous mark making and patterning, thousands of dashes and dots emerge into imagery of forests and water on the surface of Bates' unstretched and primed canvases. The artist's wall-mounted textile works are sculptural constructions with imagery of sky or trees developing out of sections of expressive marks she makes by 'drawing' with a sewing machine, embroidering, and weaving. Read more about Samantha Bates in our interview with the artist on our blog. Both exhibitions continue through October 31st.

     

    Mariella Bisson, Five Trees Five Mountains, Oil and mixed media on linen, 50 x 38 inches

     

  • Wood artist, Ron Layport, makes his Momentum debut

    Layport appears in Transformation: Earth, Water, & Wood
    by Shifra Ahlers

    Ron Layport, Embrace, Turned, carved, and pigmented Maple root burl, 14 x 18-1/2 x 1-1/2 inches

     

    The expertly detailed wood sculptures of Ron Layport are not assemblages - each is sculpted from a single piece of wood. Working directly from sustainably-sourced, fresh cut local hardwoods (trees felled as a result of storm damage or otherwise destined for landfill, firewood, or the chipper), Ron first turns the logs on the lathe, then sculpts and finishes the pieces by hand over a period of months. What may have begun as an eighty-pound cross-section of tree is reduced to a beautifully finessed vessel weighing less than two pounds by the time it goes to the pedestal.

     

    Layport coomments: "Working with wooden bowl and vessel forms provides a universal familiarity or jumping-off point from which I am able to express more complex themes and images. The instinct to make objects that address our connection to Earth, and to the creatures with whom we share this planet, is as timely today as it is timeless. Animal effigy figures have inspired utilitarian and ceremonial objects since the earliest forms of human expression. I'm simply bringing my own voice to this ongoing dialog." 

     

    Momentum Gallery received six works from Layport for our upcoming nature-themed exhibition, Transformation: Earth, Water and Wood. We are thrilled to share his work with our collectors!

     

    Ron Layport, Of Waves and Fishes, Turned, sculpted and pigmented Sycamore, 15 x 8-1/4 inches
     

    Ron also offered the following regarding his work for the show: "The work, Of Waves And Fishes addresses the transformation of our waterways from healthy to lost—and their reclamation through the last half-century of hard-fought battles over regulation of industrial waste."

     

    Ron Layport, Dream Suite, Turned, sculpted, and pigmented Ash, 13-1/4 x 9-1/2 inches
     

    "Dream Suite speaks to the rush of excitement and inspiration in receiving the call from Jordan at Momentum. It signals my return to a vital bricks and mortar gallery in a thriving art-minded community. I’ve always admired the Asheville gallery scene and the artists who are so fortunate to show there. I’m grateful for the opportunity to be a part of it," Layport said in a recent interview. 

     

  • Two Exhibitions Open: Thursday, August 30th, 5-8pm

    Transformation: Earth, Water, & Wood and Samantha Bates
    by Shifra Ahlers

    TWO MULTIMEDIA, NATURE-THEMED EXHIBITIONS 

    OPENING at MOMENTUM GALLERY on AUGUST 30th

     

    On Thursday, August 30th, from 5-8pm, Momentum Gallery invites you to an Opening Reception for the group exhibition, Transformation: Earth, Water & Wood along with a collection of new paintings and textile works by Samantha Bates. We are so pleased to be showing such innovative work at our downtown Asheville art gallery! The reception takes place at the gallery's 24 N Lexington Avenue location and is free and open to the public. All are welcome. These exhibitions continue through October 31st

    Ron Isaacs, Arrow,acrylic on birch plywood construction, 42-1/2 x 50-1/2 x 4-3/4 inches.

     

    The group exhibition, Transformation: Earth, Water & Wood features recent work by five Momentum artist partners: Mariella Bisson, oil painting with collage; David Ellsworth, wood; Vicki Grant, porcelain and mixed media; Ron Isaacs, trompe l'oeil painting on wood; and Ron Layport, wood. New York painter Mariella Bisson turns her attention to our regional waterfalls, depicting dramatic scenes of stone, water, and woods in her signature style. Bisson deftly delineates the sculptural planes of her subjects and often selects scenes that represent metaphors for adaptation and change. In ceramist Vicki Grant's new series of Botanical wall tiles, the NC artist explores rich texture through deep carving and beaded embellishments inspired by tree bark. Grant's latest free-standing totemic sculptures are also featured. Trompe l'oeil master Ron Isaacs refers to his work as being "exactly halfway between sculpture and painting." His birch plywood constructions, painted with acrylic, often portray the illusion of shirts or dresses (representing the figure) in the midst of a state of metamorphosis into foliage and branches. 

     

    Mariella Bisson, Summer Falls Panorama, oil and mixed media on linen, 34 x 74 inches.

     

    Transformation also proudly presents work by two renowned American wood artists, David Ellsworth and Ron Layport. Ellsworth, who recently relocated to the Asheville-area, is a preeminent wood turner with work in 36 museum collections around the world, including the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, and the Museum of Fine Arts Boston. Ellsworth's aesthetic embraces nature's irregularities and might be compared to the Japanese principle, wabi-sabi, where anomalies that arise through the process of making add uniqueness and elegance to the work. Ellsworth's turned work is done on the lathe while the wood is still green, allowing for unusual things to happen as the turned forms cure and dry. Precisely rounded vessels may become oblong and asymmetrical, or even split open -Ellsworth welcomes these effects as part of his creative practice. Some might find it curious that the masterful woodturner's latest series isn't turned at all. For his Ascension series, Ellsworth cuts blocks of burled wood into concentric rings, then telescopes them out into dramatic, towering spires. Interestingly, Ron Layport first learned how to turn wood in a class led by David Ellsworth. Over the past 30 years, Layport has established a place among the top wood artists in the world. Layport uses negative space as a design element, carving intricate patterns of wildlife and habitat into the surfaces of his turned vessels. The results are complex relief carvings that maintain the integrity of the original form despite having been completely transformed.

     

    Ron Layport, Captured by Feathers, maple burl, steel, pigment, 12-1/2 x 29-1/2 x 4-1/4 inches.

     

    Momentum Gallery is thrilled to debut a collection of new mixed media paintings and textile works by Samantha Bates. Bates' contemporary landscapes are inspired by her time in wilderness areas, largely in her home state of Washington. Through meticulous mark making and patterning, thousands of dashes and dots emerge into imagery of forests and water on the surface of Bates' unstretched and primed canvases. The artist's wall-mounted textile works are sculptural constructions with imagery of sky or trees developing out of sections of expressive marks she makes by 'drawing' with a sewing machine, embroidering, and weaving. Both exhibitions continue through October 31st.

     

    Samantha Bates, Reach Toward the Pacific, acrylic, colored pencil, artist pen on unstretched and       primed canvas, 52-1/2 x 48 inches.

  • by Shifra Ahlers

    Jordan, along with Momentum's staff, and our Artist Partners, would like to express our sincere appreciation for the enthusiastic response to our glass show this summer! Thank you to everyone who visited!  The Opening Reception, the Artist Reception, and our Artist Talk with Tim Tate were well-attended by friends, collectors, and esteemed colleagues. Troy and Sons provided incredible Momentum Mixers and Karen Donatelli Bakery created fabulous desserts that referenced the opulent glass work. As a community, you demonstrated how much you love a thoughtfully conceived and exquisitely presented collection of contemporary glass work from around the country - and we thank you for your support!  We look forward to seeing you again soon! Thank you for helping make our first thematic group exhibition such a tremendous success!!!

  • Dale Chihuly and Therman Statom

    New works have arrived at Momentum
    by Shifra Ahlers

     

     Dale Chihuly, Terre Verte & Prussian Green Venetian with Madder & Gold Leaves

    Blown and hot-formed glass, 17 x 14 x 12 inches

     

    We are honored to present a special collection of work by two pioneers in the field of studio glass, Dale Chihuly and Therman Statom. Held in conjunction with Asheville's Summer of Glass, the collection features original blown glass objects from Dale Chihuly, Chihuly Studio, and original works including unique serigraph on plate glass shadowboxes from Therman Statom.  The gallery is also thrilled to include a curated collection of original vitreographs, printed in small editions here in WNC at Littleton Studios, when Chihuly and Statom visited the area previously. Note: Due to popular demand, we recently brought in additional Dale Chihuly vitreographs Ikebana, and Piccolo Venetians as well as a dramatic Chihuly glass sculpture, Terre Verte and Prussian Green Venetian with Madder and Gold Leaves.

    Dale Chihuly, Piccolo Venetians, Vitreograph, intaglio print from glass plates, 30 x 24 inches, AP

     

    The collection at Momentum is a nice complement to Chihuly's installation on view at Biltmore through October. Momentum Gallery's exhibition continues through August 25th.  If you haven't been in to our art gallery in downtown Asheville recently, come check out this amazing work!  

    Therman Statom, Native, Screen-printed sheet glass with mixed media, 14 x 17 x 6 inches
  • by Shifra Ahlers

    Andy Farkas, More than enough, Moku Hanga, 14-1/2 x 5-1/2 inches, Edition of 51

     

    We are thrilled to debut the latest edition moku hanga print from Andy Farkas titled More Than Enough. It is an exquisite rendering in Andy's characteristic and beloved style, incorporating fable-like animal imagery of a badger and birds next to a waterfall. Handset letterpress type reads, All he had to offer in return was his gratitude...it was more than enough. 
     
    More Than Enough is the latest in a series of masterful moku hanga (Japanese watercolor woodblock) prints from the Asheville-based artist, available in an edition of 51. You can learn more about Andy and his work here: https://momentumgallery.com/profile-andy-farkas/
     
    Please call us at 828-505-8550, or stop by our downtown Asheville art gallery, if you would like to acquire More Than Enough or any of Andy Farkas' available works, all of which can be seen here: https://momentumgallery.com/artists/38-andy-farkas/works/
     
    Thank you for your support of our artists and our gallery. We offer you our gratitude and appreciation! 
  • Dale Chihuly Work at Momentum Gallery

    Also featuring the work of Therman Statom, July 1 - August 25th
    by Shifra Ahlers

    Dale Chihuly, Chandelier, Vitreograph, Edition of 50,  36 x 30 inches

     

    We are thrilled to be exhibiting Dale Chihuly's intriguing work to commemorate the Chihuly installation at the Biltmore Estate! The Chihuly work can be seen at Momentum Gallery, along with the memorable work of Therman Statom, as part of the Summer of Glass 2018. The show opens with a reception on July 1st, from 5-8pm. Wine, beer, and light refreshments will be provided. This event is free and open to the public. All are welcome. Come see Chihuly's work in our downtown Asheville art gallery through August 25th. 

     

     Dale Chihuly, Persians, Vitreograph, Edition of 50, 36 x 30 inches

     

    Momentum Gallery will be exhibiting select glass pieces by Dale Chihuly in addition to an exclusive collection of vitreographs produced at Harvey Littleton's Studio in Western North Carolina. Chandelier, reflects the artist's series in glass which Chihuly has revisited since his ambitious Chihuly Over Venice project in 1996. Experience this series in glass at Chihuly at Biltmore, on exhibit through October 2018. 

     

    Dale Chihuly (b.1941) is a multi disciplinary American artist with an extensive history in the field of studio glass. He is known worldwide for his creation of large scale environmental installations. He also creates sculptures for personal collections, paints, and has made prints and vitreographs based upon his noted work. As a pioneer in his primary medium, he cofounded the Pilchuck School of Glass in Washington state. 

     

    Dale Chihuly, UNTITLED, 1981, Blown glass, 3-1/4 x 11-1/2 x 8-1/4 inches

    Arguably one of the most famous glass artists in the world, he began his foray into design work when he attended the University of Washington in Seattle. In 1963, he took a weaving class where he incorporated glass shards into tapestries. Chihuly graduated from the University of Washington in 1965 with a Bachelor of Arts degree in Interior Design. Chihuly began experimenting with glassblowing in 1965 and in 1966 he received a full scholarship to attend the University of Wisconsin - Madison. There, he studied under Harvey Littleton, who established the first glass program in the United States at that school. In 1967, Chihuly received a Master of Science degree in Sculpture. Chihuly earned a Master of Fine Arts degree in sculpture from the Rhode Island School of Design in 1968. At that time, he was awarded a Louis Comfort Tiffany Foundation grant for his work in glass, as well as a Fulbright Fellowship. He then traveled to Venice to work on the island of Murano, where he first saw the team approach to blowing glass. After returning to the United States, Chihuly spent the first of four consecutive summers teaching at the Haystack Mountain School of Crafts in Maine.

     

    Chihuly's art appears in permanent personal, corporate, and museum collections all over the world, including in the United States, Canada, England, Singapore, and in the Middle East.

    Dale Chihuly, Studio Edition, CHINESE RED SEAFORM PAIR, 1995, Blown Glass, 6 x 11 x 7 inches

     

     

     

  • by Shifra Ahlers

    tate

    Tim Tate, Summer of Love, Cast poly-vitro, mirror, UV LEDs, 32 x 32 x 3 inches

     

    On Thursday, August 9th, from 4-7 p.m, Momentum Gallery is hosting an Artist Cocktail Reception in conjunction with its current contemporary group glass exhibition, Reflections. The reception takes place at the gallery’s Lexington Avenue location and is free and open to the public. Several artists whose work is featured in Reflections will be in attendance, including Tim Tate, Penland School of Craft's 2018 Benefit Auction Signature Artist as well as Thor & Jennifer Bueno and Pablo Soto, and other Momentum Gallery artists. The festive atmosphere will include fun food, cookies by Karen Donatelli Bakery, craft cocktails by Troy & Sons, and a raffle for the Center for Craft. The exhibition Reflections continues through August 25th. We hope you will join us for one of the most engaging contemporary glass shows ever shown in an art gallery in Asheville.

     

    Alli Hoag,Taxonomy/Memory (detail), Cast glass, blown glass, silvering, mixed media

     

    Keep the party going! Immediately following the Cocktail Reception at Momentum Gallery, be sure to head over to our neighbors on Broadway, the Center for Craft for Craft After Dark. More information may be found here – http://www.craftafterdark.com. It promises to be an amazing, art-filled evening in downtown Asheville.
     
    veil
    Joanna Manousis, Veil, Fused murrini, water-jet cut sheet mirror, 36 x 24 inches
     

    And, for more fun, head up to the Penland School of Craft's 2018 Benefit Auction, Friday and Saturday, August 10th and 11th. It’s no surprise that a number of Momentum Gallery's phenomenal Artist Partners are closely affiliated with Penland. If you’ve never been to the Auction, it’s only an hour’s drive north of Asheville and well worth the short trip! While you’re there, be sure to visit Penland Gallery’s Summer of Glass exhibition, Alchemy: Contemporary Studio GlassJoin us at the 33rd annual auction weekend: http://penland.org/support-penland/annual-auction/

    Andy Paiko, Indefinite Sum #9, Blown, sculpted, etched, lacquered, assembled glass, brass, leather, twine

     

     
  • Works by Therman Statom, Contemporary Glass Pioneer

    Shown in Conjunction with Dale Chihuly at Momentum Gallery, July 1st - August 25th
    by Shifra Ahlers

    frankinsense

     Therman Statom, Frankincense

     

    In conjunction with the Summer of Glass, Momentum Gallery, in downtown Asheville, is pleased to present a collection of works by contemporary glass pioneer, Therman Statom. Featured works at Momentum Gallery include translucent shadow boxes constructed from sheet glass, screen-printed with various imagery and combined with found objects; a large-scale painting of two playing cards within a plate glass shadowbox with found objects entitled Summer Queens; a solid cast-glass house; and works on paper (vitreographs done at Harvey Littleton’s studio in Western North Carolina). Vitreography is a printmaking process, utilizing glass plates as the printing matrix, innovated by Harvey Littleton, “the Father of Studio Glass” in the early 1970s. Littleton continued to develop the process at his Western North Carolina studio after moving here, in 1976. A collection of Statom’s work will be featured in an exhibition at Momentum Gallery, opening July 1 and continuing through August 25th, 2018.

    indian

    Therman Statom, Native

     

    Therman Statom (b. 1953) is an artist whose primary medium is sheet glass. He cuts, paints, and assembles the glass – adding found and blown glass objects – to create three-dimensional sculptures. Many of these works are large in scale. He often utilizes sound and projected digital imagery as features in his work. He is best known for his painted ladders, houses, and chairs, and glass boxes. 

     

    Statom studied glass at Pilchuck Glass Center, received his BFA from the Rhode Island School of Design, and holds an MFA from Pratt Institute of Art and Design. He has taught at Pilchuck and the University of California, Los Angeles. He has also received commissions for countless large-scale installations, including those at the Los Angeles Central Public Library and the Toledo Museum of Art.

     

    queen

    Therman Statom, Queen of Hearts

     

    Statom has also focused on the importance of educational programming within the arts. He regularly holds workshops for children and adults to create handmade art and to effect positive social change within the community. 

     

    Statom's artwork appears in numerous exhibitions annually, including solo and group shows around the nation and internationally. He is renowned for his large, site-specific installations. His illustrious professional career includes exhibitions at major museums across the United States. Internationally, Statom has exhibited his work in Stockholm, Sweden; Paris, France; Hokkaido, Japan; and Ensenada, Mexico.map

    Therman Statom, Map

     

    Therman Statom has earned many accolades and honors including Outstanding Achievement Award presented in 2008 by UrbanGlass, and a Distinguished Artist Award presented in 2006 by the James Renwick Alliance in Washington, DC. Statom was awarded fellowship grants by the National Endowment for the Arts in 1988 and 1982; was the recipient of a Ford Foundation Artists Grant in 1997; and was made a Fellow of the American Craft Council in 1999.

     

    “I believe art can be understood both conceptually and intuitively. I think there is a need for the general public to come to an understanding that to appreciate art and creativity they must trust his or her self; that extensive education is not a prerequisite for understanding art. Much of what I do is seeded in what is more of an intuitive process; a large portion of my work is exploring these processes within people and their environments.

     

    "The fact is, I believe that creativity is a part of all aspects of what people do; my studio and educational efforts via workshops and the support of outside programming, general educational and cultural institutions, are a reflection of this belief.

     

    "I feel that art is a tool for empowerment and education. It’s also a viable tool to investigate positive change and engage a culture through the use of exploration." – Therman Statom

     

  • Opening Reception: Reflections, Sunday, July 1, 5-8pm

    Curated contemporary group glass show
    by Shifra Ahlers

    amber

    Amber Cowan, Sky Blue Summer Cluster, Flameworked American pressed glass, mixed media, 11 x 11 x 5

     

    Momentum Gallery's curated group exhibition, Reflections (July 1 - August 25), features work by leading contemporary glass artists from NC and around the country. The overall collection alludes to the timeless traditions of opulence and grandeur at Biltmore Estate through objects that explore the intricate detailing and ornamentation indicative of the Gilded Age, a period during the late 19th Century when Biltmore Estate was conceived and constructed by railway tycoon George Vanderbilt. Additional works in Reflections examine concepts of memory and history, referencing the "downstairs," where staff lived and served the aristocratic family behind the scenes at the palatial mansion. Momentum Gallery is pleased to participate in the Summer of Glass, a Western North Carolina celebration of glass art in conjunction with Dale Chihuly's magnificent installations at Biltmore Estate, through October. 

     kit

     Kit Paulson, Touch Me Not, Borosilicate glass, 6 x 15 inches

     

    Reflections is a stylish collection featuring work by several top contemporary glass artists from WNC and around the country, including: Thor & Jennifer Bueno, Amber Cowan, Jennifer Halvorson, Alli Hoag, Joanna Manousis, Andy Paiko, Kit Paulson, Pablo Soto, and Tim Tate.  

     

    tate

    Tim Tate, Biltmore Blossoms, Cast poly-vitro, mirror, LEDs, 34 x 34 x 4 inches

     

    An array of sophisticated sculptures and wall pieces incorporate a variety of glass techniques, exploiting the diverse qualities of an enchanting material. Innovative use of mirrors and lenses challenge us to question perception in the mind-bending work of Alli Hoag and Tim Tate. Kit Paulson embraces ornamentation in her meticulous lampworked creations in borosilicate glass. Amber Cowan is currently working with a process which involves flameworking, blowing, and hot-sculpting upcycled American pressed glass. Reflections kicks off with a reception that takes place Sunday, July 1 from 5-8pm. Beer, wine, and light refreshments will be provided. This event is free and open to the public. 

     

     

     jo

    Joanna Manousis, Distilled Portrait III, Negative-core cast crystal, stainless steel, 10 x 6 x 6 inches 

     

     

    piano

    Andy Paiko, Indefinite Sum #10, Blown, sculpted, etched, lacquered, assembled glass, brass, leather, twine, 25 x 42 x 16 inches
  • Artist Reception with Mariella Bisson

    Friday, April 27th, 4-7pm
    by Shifra Ahlers

    Mariella Bisson, Waterfall Panorama, Mixed media on linen, 34 x 74 x 2 inches

    Mariella Bisson, Waterfall Panorama, Oil and mixed media on linen, 34 x 74 x 2 inches

     

    Momentum Gallery is pleased to host an Artist Reception with landscape painter, Mariella Bisson, on Friday, April 27th, from 4-7pm. This is a rare opportunity to meet Mariella and see some of her recent works, as she visits from New York. Wine and light refreshments will be served. This event is free and open to the public. 

     

    You can learn more about Mariella Bisson here: https://momentumgallery.com/artists/34-mariella-bisson/overview/

     Mariella Bisson and Jordan Ahlers, Momentum Gallery, October 2017

    Mariella Bisson and Jordan Ahlers, Momentum Gallery, October 2017

     

    “My mixed media paintings read as landscape, rock and water. They dissolve into abstraction and geometry. I begin with a field painting created outdoors on site. I avoid the use of photography, preferring to base my compositions on drawing and field painting having the immediacy and power of landscape in its rocky reality.

    "I move between abstraction and figuration making images of primal forces -- gravity, light and darkness, endless geological time. Collage satisfies my need to improvise, to work quickly, using accidental and impromptu marks, drawing and painting freely across a textured surface of paper fragments. Layers of paper replicate geological layers of rock under pressure. Small flickering fragments of paper communicate the effects of sunlight and moving shadows.” – Mariella Bisson

    Mariella Bisson, Trees, Morning Mist, Smoky Mountains, Oil and mixed media on linen 38 x 50 x 2 inches
    Mariella Bisson, 
    Tress, Morning Mist, Smoky Mountains, Oil and mixed media on linen, 38 x 50 x 2 inches

     

    Born and raised in Northern Vermont, Mariella Bisson earned a BFA in Drawing from Pratt Institute in Brooklyn, NY in 1978. Her work has won many awards including three years of support from the Pollock Krasner Foundation (1990 and 2014-15) and a 2012 NYFA (New York Foundation for the Arts) Fellowship in Painting. She has been awarded grants from the Gottlieb Foundation, Robert Rauschenberg’s CHANGE Foundation, the Artists Fellowship, The Dutka Foundation and others. Her travels have included more than 25 residencies, such as Byrdcliffe, The Hambidge Center, The Banff Centre, The Vermont Studio Center, and The Santa Fe Art Institute. 

    Her paintings can be found in corporate collections including Philip Morris, Pfizer, White & Case LLP, Wedge Capital Management, Albemarle Corporation, Talisman, Dun and Bradstreet, Standard & Poors, and many others. Her paintings are also in several hospital collections including Memorial Sloan Kettering in NYC and New Jersey, The Mayo Clinic, The North Georgia Health Service Hospital at Braselton, Ga., Fletcher Allen Hospital in Vermont, and Orange County Regional Medical Center in N.Y.

    Mariella Bisson, Waterfall, Time and the Forest, Oil and mixed media on linen 40 x 30 x 2 inches

     

    Mariella Bisson, Waterfall, Time and Forest. Oil and mixed media on linen, 40 x 30 x 2 inches
  • Opening Reception Sunday, May 6th, 5-8pm

    New Works by Michael Barringer, Jeannine Marchand & Michael Enn Sirvet
    by Shifra Ahlers

    We are so excited to open a new exhibition of recent works by gallery artists, Michael Barringer and Jeannine Marchand, and to introduce the works of sculptor Michael Enn Sirvet on Sunday, May 6th, from 5-8pm. All three artists will be in attendance for the opening reception. Vibrant works by abstract painter Michael Barringer complement the sensuous, anthropomorphic sculptures by ceramicist Jeannine Marchand and architectonic works by sculptor Michael Enn Sirvet. This show opens May 6th and runs through June 23, 2018.

     

    Michael Barringer, GB No. 7, mixed media on canvas, 48 x 48 inches

    Michael Barringer, GB No. 7, mixed media on canvas, 48 x 48 inches

     

    Michael Barringer's dynamic abstract paintings, draw inspiration from a multitude of sources including poetry, archaeology, astronomy, music, literature, and art history. Michael channels sensations, emotions, and ideas through his work mixing gestural, intuitive mark-making with organic forms, building layer upon layer of gesso, charcoal, pastel, acrylic paints and waxy oil pigment to make complex works that reflect the history of his process.

     

     Michael Barringer, Bloomstone (Burnt Norton), mixed media on canvas, 48 x 60 inches

     Michael Barringer, Bloomstone (Burnt Norton), mixed media on canvas, 48 x 60 inches

     

    Jeannine Marchand, Folds XCV, unglazed ceramic in steel frame, 50 x 50 x 2 inches

     

    Sculptor Jeannine Marchand's sublime artistry makes unglazed white clay appear like draped fabric nestled within a steel frame. Marchand's freestanding and wall-mounted sculptures are minimalist and modern, yet remain visually engaging and accessible. Their allure comes through smooth, sensual folds thoughtfully arranged in cascading compositions which gently explore interplay of light and shadow.

     

    Jeannine Marchand, Folds LXXVIII, unglazed ceramic in steel frame, 36 x 24 x 2 inches

     Jeannine Marchand, Folds LXXVIII, unglazed ceramic in steel frame, 36 x 24 x 2 inches

     

    Michael Enn Sirvet, Kasha-Katuwe, powder-coated aluminum, 19 x 22 x 11 inches

     Michael Enn Sirvet, Kasha-Katuwe, powder-coated aluminum, 19 x 22 x 11 inches

     

    This exhibition marks the Asheville debut of Michael Enn Sirvet's sculpture, which can be found in major collections throughout the world. Many of his works feature organic and complex patterns formed from subtractive methods which balance negative and positive space. The artist hopes, "the simple intricacies of my abstracted, purified forms and assemblages will invoke recognition and impart the wonder I feel for nature." Michael's previous career as a structural engineer is evident in his multi-faceted architectural metal, stone, and wood sculptures.

     

    Michael Enn Sirvet, Rousseau Rain Mirror, aluminum, 26 x 44 x 1 inches

     Michael Enn Sirvet, Rousseau Rain Mirror, aluminum, 26 x 44 x 1 inches

     

    An artist reception for this exhibition takes place at Momentum Gallery, located at 24 North Lexington Avenue in downtown Asheville, on Sunday, May 6, from 5-8 p.m. This event is free and open to the public.

  • Artist Profile: Michael Barringer

    The Georgia artist creates works as part of a series, often inspired by art history, archaeology, anthropology and literature
    by Shifra Ahlers
    Painter Michael Barringer with Momentum Gallery Director Jordan Ahlers
    Painter Michael Barringer with Momentum Gallery Director Jordan Ahlers

    Momentum Gallery (MG) Michael, thank you so much for taking the time out of your schedule to join us today. We appreciate it! Michael, tell us. What led you to becoming an artist?

    Michael Barringer (MB)  Well, my mom is an avid reader and my dad was a true nature lover - I think those two influences definitely show up in how and why I do my work.

     

    In fact, I come from a line of artisans; my maternal grandfather was  a quarryman who made his own tools and took a huge interest in crafting. My paternal grandfather was a blacksmith and a railway man who helped to build steam engines. He made things out of wrought iron, he painted watercolours, he made his own wine, grew vegetables.  In the midst of this creative gene pool, I seem to have inherited some of that.

     

    Artistically, literature was my first love. I enjoyed thinking creatively and drawing and so I completed a graduate level painting and drawing program, after my undergraduate degree in English. It seems I found my calling and here I am!

     

    MG Your pieces incorporate themes such as spirituality, history and religion. How do you incorporate those themes within your work? What form does it take usually?


    MB  I think it goes back to the original poetic impulse we all have  - that drive to make things. Basic impulses haven’t actually changed that much. We’re all searching for something. If you go back through history and study behaviour, people have always had that impulse. In fact, in the Blombos Caves, off the Southern Cape coastline in South Africa, archaeologists have discovered artifacts one hundred thousand years old - seashells, beads, string and ground pigments. It’s really like an ancient paint factory.  

     

    Bloomstone (Orchestral Palimpsest), mixed media on panel, 32 x 41 inches

     
    MG You talk about your work being layered, of accumulation. What prompted that way of working?

     

    MB If you look at TS Eliot’s work, Four Quartets, it talks of an evolving spiritual nature, where things mix together and then go back again.  I like that idea of new cultures being born, then changing to create a new layer, one after another, and snippets remain.  In the physicality of layering - form follows the function. The function is to suggest our accumulated history.   

     

    MG  Poets are a big influence on your work. Who are you inspired by?  

    MB TS Eliot again and Wallace Stevens from the early 20th century. He was a champion of the human imagination - he felt that it would replace religion in a way, that we would be generating everything from within and would live by that instinct.

     

    Another inspiration is Walt Whitman - he tends to get back to primal urges and breaks through cultural differences. He shows that we’re all similar, that we all have these animal instincts. He encourages us to get back with nature and be part of it. It’s very interesting.

     

    Kenneth Rexroth was part of the San Francisco Renaissance, a founding father of the Beat Generation.  He took all this knowledge, systems, arts, mixes them all together and writes poems about the subjects in a really well-informed way. His writing is really rounded with direct, stripped-down language. He’s always around somewhere for me.


    MG Similarly, quilting is an inspiration. What can we learn from the original quilters throughout history?


    MB Southern USA - I grew up with folks who made these real traditional-looking quilts. The designs were predictable and followed a pattern. Then I discovered the quilts made by the ladies of Gee’s Bend, a small, remote, black community in Alabama. For over 120 years, these African American ladies have been creating these  spectacular quilts which are so modern - like something from Matisse for example. None of these ladies would have ever been exposed to Modernism but these quilts are so bold and minimal. When you see them for the first time, it’s shocking. There is no explanation as to how they look so contemporary. It comes from within; a natural design sense. Their exhibition has toured the US - I had the good fortune to see them in Atlanta. Quilting pulls together old items with their own history and creates a new, current thing. That’s interesting to me.

     

    Blombos Cave (Quilt), mixed media on paper, 30 x 22 inches


    MG Your pieces range in terms of budget. Was that a conscious decision to hit different price points?


    MB  My enjoyment comes from working with different sizes and different material. When I’m working on paper, it’s more like a diary in a way. They’re almost studies for the larger pieces. When you price, you’re using parameters, of course, as you need a benchmark.

    MG Can you tell us about your working day? How do you balance family life with that of an artist?


    MB That’s always the trick! It’s getting a little easier; my  oldest child is a senior now in high school, then come the twins who are 14. They’re a bit more self-sufficient and don’t need so much day to day care. I try to keep regular hours and not work at night - that’s family time.

     

    You know my family are great at giving me feedback! They’re honest and direct. That opens up possibilities. My wife Mindy is a artist too, a graphic artist.  She is a good sounding board when I need it.

    MG Has there been a stand-out moment for you, so far, in your career? What have you been most proud of?

    MB  I enjoy submitting work to the large survey shows. Responding to a call for artists, and being judged blind by different curators, then being accepted is a really good feeling.

    MG What inspires you?

    MB  I tend to have the feeling that any finished piece isn’t quite what I wanted. I’m always coming back at it. I think artists always try to improve upon what came before, so that it’s more in line with your imagination. If you lose that, perhaps it’s time to rethink being a maker of things. That’s the drive of an artist. To become a little prouder each time.


    MG Do you have any advice you'd like to share for budding artists?

    MB It’s hard work! You have to work through some rough patches to get to the good bits. Be regular and consistent with the work and level of output. Some days I’ll come to the studio, clean up - that kind of activity is just as important as the days when i’m getting work done. Oh and stick with it. Good things will come.


    MG As a gallery, we are thrilled to have you join our opening roster at such an exciting time for Momentum and the Asheville art scene as a whole, today. What's exciting you the most right now?

    MB  I’ve known Jordan for many years, 17/18 years I think. He’s always been a real champion of my work. When he started his own gallery - I felt I should move with him. I’m excited about the number of artists too - it’s smaller which means it can be more focused. Jordan understands and appreciate the process, the making of a piece and what went into the finished result. From an artist’s point of view, it matters that it’s understood.

     

    Asheville is such a vibrant city, with the university being here especially. It’s always been a place for fine craft in the region which is exciting. It’s getting a lot of national and international attention. It’s a beautiful place too and the people are honest, accessible, open. It’s pretty progressive.

     

    Bloomstone (Curio Cabinet), mixed media on panel, 42 x 48 inches

     

    MG Michael, as ever, thank you for being part of the Momentum Gallery family. We look forward to a wonderful year ahead together.

     

    Michael will be one of the artists represented in Momentum Gallery's booth at Art Wynwood, February 15-19. His work can also be viewed at the gallery or by visiting https://momentumgallery.com/artists/35-michael-barringer/works/

  • How To Buy Art For Your Home

    Art consultant Steven Goldstein shares what makes a great collection
    by Shifra Ahlers
    How To Buy Art For Your Home

    Today, we’re speaking with Steven Goldstein, architect, art consultant, and Asheville local. Steven will be sharing with us his professional insights on buying art for a home, what makes a great piece and how to put a collection together (and how not to!).

     

    Momentum Gallery (MG): Steven, thanks for spending some time with us today. Please tell us, how did your career as an arts consultant come to be?

     

    Steven Goldstein (SG): That’s no problem, pleasure to be talking with you today. So, to answer your question, I used to run an architectural practice, specializing in private homes and high-end residential properties.

     

    After successfully completing these projects, my clients started to ask me to work on other types of buildings, such as their offices, medical buildings, hotels etc.

     

    Since 1969, I’d started to build my own art collection, and so when my clients came to visit my home office, they saw this for themselves, and understood how it related to the space which housed it. If they were new to collecting art, or their own collections perhaps were not so well thought-out, they would, from time to time, ask me to assist in putting together a collection for them. I’d worked with some of these clients for more than 20 years, so we already had a good working relationship and understanding.

     

    MG: That’s fantastic; an interesting career switch to make. So in terms of helping your clients to choose a piece, as we all know, art is so subjective... from a collector’s point of view, should you simply buy the art you love or are there any ‘rules’ to follow?

     

    SG: It really depends on whether or not you are new to the game. If you are experienced, then buying what you love and only what you love is probably the right advice. If you are inexperienced, buying what you love could land you with a whole lot of stuff you think is ordinary or weak later on.

     

    When I start working with a client, I recommend they visit lots of different galleries to experience the differences. Some galleries are only interested in what sells; they’re more commercial and the work can be overpriced. When you dig deeper, you realize it's actually quite ordinary. Once the client has seen these variations, they should be starting to get an understanding of what are they drawn to. Non-representational work being a good example - if a client really doesn’t like that genre, there is no point in sending them to a gallery that specializes in that type of art. Then we move on to exploring what is good in the genres they like.

     

    When we get to the point where there is an artist whose work stands out to them, I then like to teach the client to delve into the artist’s background. Knowing where they were trained for example, will help them understand and see the characteristics of that particular school coming through the work. We look at what this artist has done across their whole career, which with a mid-career artist would be a 10-15 year period. Only at that point will you understand who that artist truly is, and the nature of their work, and then you are equipped to pick the best piece for you.

     

     

    Steven Goldstein speaking with artist Jeannine Marchand in front of her work 

     

    MG: Thank you. So in terms of the purchase, should collectors have a space in mind or a predetermined idea of where it will live?

     

    SG: It’s fine to have a spot for which you are looking. Sooner or later, though, most collectors end up buying pieces they don't want to live without and find a place to put them.

     

    MG: Time to buy a bigger house, I guess! Steven, in your opinion, is it better to buy a bigger piece by a lesser-known artist or go for a smaller piece by a tried and tested ‘name?’

     

    SG: Budget is important, although the second part of this question has little to do with the first. I advise people to know how much they are comfortable spending at any given time. The balance between bigger unknowns and smaller knowns makes no sense to me at all. If the process required for an unknown artist to produce a small piece is complex or costly, it may cost more than a large one by another unknown or even someone known.

     

    And you know, this is where a gallery owner becomes a really important part of your life. They will help you not to buy purely on a visceral response ,but help you find what’s going to be magic in your life from an aesthetic point of view.

     

    Clients get a sense and feeling about whether the owner is just pushing to sell a piece. When I work with Jordan for example, I know he’s not pushing. He shares lots of information, clients can ask his opinion, learn more about the process - how a piece was made, and what went into it.

     

    Above all, I think art should not be looked at as purely an investment. Instead, see it as a joy - that’s the motivating factor. Of course, if you’re one of the very few people in the world who are spending a minimum of six figures on a piece, then you probably shouldn’t be doing that unassisted. A good art consultant will be adept in knowing what’s happening in the market and current values.

     

    MG: How does one know if the art ‘goes’ in the room - should the piece blend, or stand out?

     

    SG: I never recommend trying to tailor art selections to the decor of a room. Most of my collectors end up with eclectic collections. The important thing is that pieces be displayed in a manner where they aren't competing. For example, I discourage loading a space with very colorful pieces. It is good to flank something with lots of color with muted or monochromatic pieces. Contrast is critical to even noticing the art.

     

     Hoss Haley, Large Tessellation (Cyan), steel, automotive paint, 48 x 43-1/2 x 5-1/2 inches

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Hoss Haley, Large Tessellation (Cyan), steel, automotive paint, 48 x 43-1/2 x 5-1/2 inches

     

    One other thing that’s important to try to do is don’t leave pieces hanging in the same spot forever. That just breeds familiarity! You get so accustomed to seeing a piece you don’t actually ‘see’ it any more. Small and medium pieces can be rotated and moved so that visually, they look fresh again.

     

    MG: Great tip! Similarly, in terms of the colour palette of the room - match or contrast?


    SG: Contrast as a rule, but there are no rules.


    MG: Proportion is everything in interior design. What advice can you give in terms of sizing/hanging?

     

    SG: Hanging art on a wall requires analysis of a couple of qualities. The critical one is the amount of detail in the piece and the distance from which it must be seen to be appreciated. This is tougher with smaller highly-rendered/detailed pieces. You need to be close to really appreciate them so they may be in hallways, small rooms where you are circulating around the perimeter, and in bathrooms. If so, I advise finding the central focus of the piece and placing that center at eye level for the average adult viewer. Since people's heights vary a lot, this usually means around 5'3- 5'6 above floor level. If you have clients who are really tall or really short, you have to vary that so they can enjoy the works since they are the ones who will be viewing them every day. I find the biggest mistakes are in mounting height.

     

    MG: What lighting considerations should be made?

     

    SG: This is hard. Most homes are ill-suited to art display in terms of lighting. Most art is best seen with very pointed specific light coming from over the shoulder of the viewer, but certainly out of his/her viewline. Large pieces may require more than one light source and/or accenting certain areas of the piece. Employ outside interior design talent to help you with this.

     

    MG: Finally, any tips for housekeeping (how to protect your art)?

     

    SG: Invest in feather dusters and compressed air containers that don't spray any oil or liquid with the air. Be sure that any piece that is under Museum Glass is cleaned only with products that won't streak or harm the surface. Usually cleaners made for fragile computer screens will work on Museum Glass. Oddly enough, oil paints and acrylics are the most forgiving, but they still should be treated with some delicacy.

     

    I also urge everyone who collects fine art to insure it. Collectors do not buy work to have it sitting in a vault. We like to see it and let our friends experience it as well. A good art policy, in addition to your homeowners insurance makes it easy to live with one’s art and not worry every time you serve someone a glass of red wine.

     

    MG: Steven, thank you very much for your expert advice and insights! As you know, Jordan, Momentum Gallery’s owner has enjoyed spending time with you over the years as a client, art consultant, and friend.

     

    Should you wish any additional information about Steven Goldstein and the services he provides, please feel free to contact him through Momentum Gallery at email@momentumgallery.com  or 828-505-8550. 

     

     

     

  • Art Wynwood, Here We Come!

    For complimentary tickets to this Miami Art Fair, please contact Momentum Gallery!
    by Shifra Ahlers
    Art Wynwood, Here We Come!

    We are so proud to be returning to south Florida for Art Wynwood, Presidents Day Weekend, February 15 - 19, 2018. This is our third art fair in the four months since we opened; we're not called Momentum for nothing! Building upon the relationships we have been establishing, we can't wait to showcase even more of our artists and their work in Miami's dynamic and cosmopolitan art market.

     

    Thor & Jennifer Bueno, Terra Firma, blown glass, 48 x 48 inches

     

    If you'd like to join us at the fair, please contact the gallery for complimentary tickets! Momentum Gallery is located at Booth #AW222.

     

    Jeannine Marchand, Folds LXXXIII, Clay, wood, steel, 36 x 12 x 5 inches

     

    We are thrilled that Hoss Haley's Low Shoulder Erratics were selected to be presented in Wynwood's Art in Public Spaces! Additionally, Michael Barringer's Bloomstone (Newgrange IX) was selected as the cover feature image for Artsy's Art Wynwood microsite! Congratulations to both of these incredible artists for getting such well-deserved recognition!

     

    Hoss Haley, Low Shoulder Erratics

     

    From artwynwood.com:

    Since its inception in 2012, Art Wynwood has become the premier winter destination contemporary and modern art fair in South Florida, and offers the most diverse, affluent and culturally savvy international audience in the United States. Produced by Art Miami, the Art Wynwood fair will debut its seventh edition during Presidents Day Weekend, February 15 - 19, 2018, at the former Miami Herald site, which also is the new home of Art Miami and CONTEXT Art Miami, and welcomed 80,000 visitors during Miami Art Week 2017...

    Art Wynwood will continue to showcase a dynamic array of works, featuring emerging talent from the contemporary market, mid-career artists, blue chip contemporary, post-war and modern masters.

    Nestled between the Venetian Causeway and MacArthur Causeway, and just east of Biscayne Boulevard, Art Wynwood will offer an unprecedented level of convenience to and from Miami Beach while being located in the heart of the cultural epicenter of Miami. The new location will offer a renewed connectivity to the 29th annual Miami International Boat Show where the "World's Most Expensive Yachts are on display for acquisition", with complimentary shuttle service between the two daily.

     

    Original works by the following artists will be featured in Momentum Gallery's booth:

     

    Michael Barringer

    Thor & Jennifer Bueno

    Christian Burchard

    David Ellsworth

    Drew Galloway

    Amy Gross

    Hoss Haley

    Ron Isaacs

    Anne Lemanski

    Jeannine Marchand

    Maltby Sykes (1911-1992)

     

    David Ellsworth, Line Ascending #10, Black ash burl, 37 x 8-1/2 x 8-1/2 inches

  • ANDY FARKAS: ARTIST TALK & DEMONSTRATION

    Sunday, February 11, 2018, at 2PM
    by Shifra Ahlers
    ANDY FARKAS: ARTIST TALK & DEMONSTRATION

    Sunday, February 11th, at 2pm, Momentum Gallery hosts an artist talk and demonstration with beloved local printmaker, Andy Farkas. Andy will discuss his creative process followed by the specific process of woodcut printmaking in the Japanese style of moku hanga, beginning with his carving technique and followed by his printing technique. He will demonstrate each (carving, then printing) and then participants may try printing under his guidance! 

     

    Letting all questions fall away revealed the beauty of the moment-and his bliss, moku hanga


    A 2017 documentary on Andy will also be shown. This opportunity to meet the artist and learn more about his work takes place at Momentum Gallery, 24 N Lexington Avenue, Sunday, February 11th, from 2-4pm. This event is free and open to all ages and abilities.

    It came to her. She didn't ask for it, but neither did she push it away, wood engraving

    Continuing through February 24th, an exhibition of Andy Farkas’ magical work occupies Momentum’s Feature Gallery. His wood engravings and moku hanga (Japanese watercolor woodcut) prints consistently delight young and old with their narrative depictions of personified animals combined with poignant original sayings in handset letterpress type. Come see a selection of Andy’s recent works, including the newest print, “Where I Go.”

     

     Seeing, they were bound to it-to follow it, what would they become, moku hanga

     

  • On The Road

    Momentum Gallery shows in Chicago and Miami
    by Shifra Ahlers
    Momentum Gallery at SOFA Chicago
    Momentum Gallery at SOFA Chicago

    The past two months has seen Momentum venture outside of North Carolina, exhibiting at two of the most exciting fairs in the art world: SOFA Chicago and newcomer on the block, FORM Miami during Art Basel.