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SUMMARY:Exhibition: Harie by Junko Yamada
DESCRIPTION:The CRS Gallery announces a solo exhibition by Junko Yamada of art works composed of thousands of pieces of rice paper in the tradition of harie. The exhibition will be on view from November 4\, 2011 – January 4\, 2012. \nBy applying modern subject matter and lively colors to a traditional Japanese art form\, Junko creates unique works of art on rice paper. These collages are each composed of thousands of pieces of rice paper in the tradition of harie\, a style of Japanese art. \n“Japanese artists have been using unique\, strong papers for centuries\, since the Nara period. The Japanese value paper in their art and use it in their daily lives\, as evidenced by their furniture and interior design. When working with rice paper\, the tools that I and other artists employ are the X-acto knife\, Yamato glue\, rollers\, two-sided tape\, tweezers\, safety pins\, tracing paper\, drawing pad\, and scissors.” \nJunko Yamada was born in Kyoto\, Japan. Growing up in the beach resort area of Miyazu\, a beautiful area of Japan located on the Pacific coast about two hours north of Kyoto\, she was influenced in her art by the spectacular scenery. Her academic training includes the Art Institute of Boston (1986-1988) and the Art Institute of Alexandria\, Virginia (1992-2000). It was in Boston that she realized how the natural beauty of the Japanese seashore is reflected in her vibrant colors and cheerful style. She hopes that\, like the ocean and the mountains of my childhood in Kyoto\, her work instills a sense of tranquility and inner peace\, a visual escape from everyday life. \nIntroduction to Japanese Rice Paper\nMany people consider Japanese culture as a culture of wood and paper. We consider Western culture as a culture of stone and soil. The Japanese have been using paper since the Nara period (710-793). Unfortunately\, Japanese paper can not be preserved as easily as stone or soil and is therefore more transient. We Japanese view papers as an important part of our culture\, and find ways to integrate it into our daily lives by creating our unique small galaxy of beautiful things using paper. The Fusuma (sliding door)\, Byobu (screen)\, Andon (lamp)\, and Shoji (screen door) are examples of these. Japanese paper also contributes to the roots of other Japanese art such as: Sui-boku-ga (Japanese ink drawing); Sho (calligraphy)\, and wood cut print. \nJunko’s Artistic Concept\nJunko endeavors to introduce and share aspects of Japanese life and culture through her works. She tries to work in a happy and cheerful mood. Working in great detail\, she typically uses thousands of small pieces from a wide variety of papers to complete each art piece. \nDuring her stay Japan from 1988-1991 and in subsequent visits Junko does extensive shopping for rare and hard-to-find paper throughout Japan. Additionally\, her friends in Japan occasionally send her batches of assorted sheets of paper. In recent years\, the selection of papers now available in the U.S. has seen a dramatic increase\, much to her delight. Working primarily from individual or a series of photographs as her subject\, Junko uses an X-acto knife\, Yamato glue (from Japan)\, rollers\, two-sided tape\, tweezers\, pins\, tracing paper\, pencil\, drawing pad\, a cutting pad\, and of course many types of paper to complete her works. Her subjects include Japanese and American landscapes and scenery\, as well portrait and abstract works. Most of her works are in multi-color\, while some portraits are in monochrome.
URL:https://crsny.org/event/exhibition-harie-by-junko-yamada/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
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DTSTART;VALUE=DATE:20120106
DTEND;VALUE=DATE:20120108
DTSTAMP:20260425T230802
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LAST-MODIFIED:20160621T015348Z
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SUMMARY:Exhibition: Photography by Brad Oliphant
DESCRIPTION:CRS (Center for Remembering & Sharing) is thrilled to announce an exhibition of photographs by Brad Oliphant. The exhibition will take place in conjunction with the publication of Lessons in Love from A Course in Miracles: Truths and Meditations on the Legendary Text (photos and text by Brad Oliphant\, foreward by Gary R. Renard). \nAn Opening Reception\, talk/slide presentation by the artist\, and book signing will take place on Saturday\, November 8\, 2014 from 5 – 7 pm. Author and A Course in Miracles teacher Jon Mundy\, Ph.D. will also be on hand to introduce Brad’s work and sign copies of his own books! The exhibition will continue into early January 2015. \nPlease RSVP @  bradgoliphant@gmail.com\nIf you are unable to attend the event but would like to purchase one or more signed copies of Lessons in Love\, please contact Brad @ 917-664-4917.\nFor more than 40 years\, award-winning fine arts photographer Brad Oliphant has been capturing unbelievable images of the natural world. He’s also a dedicated student/teacher of A Course in Miracles\, the thousand-page treatise on spiritual enlightenment said to have been channeled directly from Christ. Now\, in this beautifully illustrated gift book\, Brad combines his two passions: the insights he has received from a higher power and his lovely\, surreal photographs. The effect of his images is haunting\, yet empowering: he seems to break through the veil of everyday appearances to reach something deeper and richer\, seemingly accessible only to a chosen few. In addition to the stunning visuals\, Lessons in Love from A Course in Miracles contains inspirational quotes\, Brad’s reflections\, and a section on addiction and recovery that includes Brad’s personal experiences. Filled with wisdom on love\, freedom from ego\, and happiness\, this is a keepsake for any student of the Course—and anyone wishing to find a new level of awareness. \nBrad Oliphant stands at the frontline of Fine Arts Photography. Highly awarded\, and hosting a smorgasbord of collections\, ranging from florals to landscapes; angelic works to macro. It was his parents gift of a Canon film camera back in 1973 that set Brad’s path in motion. Brad has over 40 years of photography experience\, which includes the fields of fashion\, commercial and nature photography. Having walked away from a 12 year fashion run some time ago\, he left with countless credits and publications which included Marie Claire\, Dolce & Gabbana\, Ink\, Flick\, La Estetica\, and Zink. His love for the trade diminished and left him questioning where to go next. Brad turned to nature and fast became aware that he had found his true love. His passion for shooting nature and fine arts have become his chosen path. Born in Dallas\, Texas\, Brad obtained his BFA from the University of North Texas; majoring in photography and with a minor in botany. Little did He know at the time that soon he would be combining the two. Shortly there after\, Brad escaped to New York City to find his place amongst the leaders in his trade and where he still happily resides. Brad’s sole objective is to help inspire others with the grace and essence of spirit that lives and breathes in nature. \nhttp://www.bradoliphantphotography.com \n 
URL:https://crsny.org/event/exhibition-photography-by-brad-oliphant/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
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SUMMARY:Exhibition: Works on Paper by Lex Braes
DESCRIPTION:The CRS Gallery announces a solo exhibition by Lex Braes of works created on paper\, primarily with home-made water-based paints. The exhibition will be on view from January 27 – March 2012. \nWhat does a painter do? He paints. Every day\, in the case of Lex Braes. In this small show\, concurrent with his aptly titled exhibition\, “Routine\,” at www.showroom http://www.showroom170.com on the LES through Feb 26 \, a sampling of small works on paper from the past six years provides a window into Braes’ routine of approaching a handful of images again and again\, in some cases year after year:  a head resting sidways on an arm\, a simple architectural structure\, a face\, an abstract pattern; some days he varies the pigment\, other days the texture\, the breadth of the stroke\, the lay of the lips. While there are no self-portraits here\, and no unifying themes or motifs\, the paintings convey the commitment of the artist to the daily practice of painting\, to painting as practice\, the practice of opening oneself to see the subject\, unimpaired and unencumbered\, in the moment\, and to respond in that moment in a way that honors the truth of his subject and himself. \nHe paints what he sees\, but not in a vacuum. A well educated and cosmopolitan man\, “Intellectual rigor is essential to his work; he is inspired by everyday life\, to be sure\, but also by writing\, by the Frankfurt School\, and by the Deconstructionist movement in Paris—Derrida\, Deleuze\, Guattari\, and the like. With each painting\, Braes takes his initial subject matter—that image or thought that first grabbed his attention— and ardently deconstructs the myths that surround the image\, as well as the myths that envelop the act of painting itself. Thus he makes intellectual decisions about the work while allowing for a deeply personal improvisation to actually reinvent the canvas. And the magic of his work is that despite the deconstruction\, despite the slow accretion of image over idea\, in the finished product the story is still wholly up for grabs” (janera.com). “If you limit the idea to a product\, rather than a gem\, you lose the point\,” he explains. “I try and allow the attraction of the image to generate an open possibility of an idea\, not a closed one.” \nWhile this may sound very zen\, his painting communicates a surprising degree of passion. The repeated takes on the same subject\, day after day\, betray an ardent curiosity\, a yearning to comprehend the essence\, or range of meanings\, of his subject and its characteristics. There is a vitality in his stroke\, an unvarnished strength in his pigments\, a resolution and energy. Braes tries to avoid participating in the commercial art world\, but (or perhaps\, in part\, because of this)\, as his dealer in Germany will attest\, they sell. His paintings speak immediately to the viewer on some primitive level and are deeply pleasurable to behold\, without (or despite) being entirely understandable. We cannot identify all the thoughts and ideas that have contributed to the shaping of each of his works\, nor do we need to\, but we can sense that within his arrangements of paint resides the living thought of an engaged\, creative mind. Braes’ paintings vibrate. They demand to be contemplated\, repeatedly\, over time. \nIf you are interested in purchasing Lex’s paintings\, contact him at lexbraes@ymail.com. \n\n\n\nLex Braes was born in Glasgow\, Scotland. He studied at the Duncan of Jordanstone College of Art\, Dundee\, Scotland (1974-1979)\, at the Brooklyn Museum Art School (1979-1980)\, and at the University of California at San Diego under Allan Kaprow in the MFA program (1983-1984). Recent notable exhibitions include “Holding Patterns\,” Felix Ringel Galerie\, Düsseldorf (2010); “Gallery Artists\,” Flowers Gallery\, NY (2009) and “Punctuated Equilibrium\,” Michael Langen\, Feldafing\, Germany (2003). \nIn 2012 his work is included in “The Annual:  2012” at The National Academy Museum\, New York and in “Routine: Lex Braes with video work by Allan Kaprow and of Shoji Hamada” at Showroom (showroom170.com) in New York. \nBraes has been a Visiting Assistant Professor in the Undergraduate Architecture Department at Pratt Institute since 2004. He is represented by Felix Ringel Galerie\, Duesseldorf\, Germany and lives and works in Brooklyn\, NY (photo by Johan Granberg). \n\n\n\n\n\nhttp://www.lexbraes.com
URL:https://crsny.org/event/exhibition-works-on-paper-by-lex-braes/
LOCATION:CRS (Center for Remembering & Sharing)\, 41 E 11th St 11th Fl\, New York\, NY\, 10003\, United States
CATEGORIES:CRS Presents,Exhibition
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