SEARS PEYTON GALLERY

Founded in 1999, Sears-Peyton Gallery represents the work of contemporary American artists and has two locations: Chelsea Gallery; 210 11th Ave., New York, NY 10001 Private viewing space; Brentwood, Los Angeles, CA.

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Bo Joseph is featured on RISD’s blog!

Read the article here: 

http://our.risd.edu/post/153861321244/satisfying-psychic-noise

“My mark making and methodology always reference something real,” says painter Bo Joseph [92 PT]. “The work has its beginnings in things I am interested in, whether that’s Chinese scroll paintings or Northwest Coast Native American carvings.”

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The Enduring Appeal and Extraordinary Breadth of Equine Art

Saddle up! We're opening the barn door for a look at the unbridled aesthetic power of horses.

Thomas Hager, Jane Rosen, and Suzy Spence are featured in @1stdibs-com Introspective Magazine article on the horse in art!

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We Move Through Time Together

Exhibition Dates: July 5 – August 19 , 2016

 New York, NY— In Sears-Peyton’s summer exhibition We Move Through Time Together, beach goers pace dreamily over sun-bleached sand, bold monochrome prints imply repeated runs through the press, and hovering lacquer miasmas transform everyday snapshots into transcendental occurrences. As summer slows the City’s bustling to a languorous pace, these works evoke the suspensions, evidence, and elisions of passing time perhaps most palpable in the lingering light of summer.

 On view is a large-scale photograph of blurry beach goers comes from John Huggins’ Once series, begun after the death of his father. These beautifully composed yet out-of-focus scenes suggest the emotionally freighted passage of experience into memory.

 Exhibiting artist Betty Merken’s monochromatic abstractions are built up slowly, printed layer by layer on the paper’s surface—eventually forming a record of both artistic process and the passage of time. Hung in colorful groups, the works suggest the nobility of repetition and routine as the artist transforms them into luminous substance.

 Photographer and painter Randi Malkin Steinberger’s works forge two common domestic items—found snapshots and nail polish—into otherworldly scenes. Steinberger superimposes Rorschach-like blots of enamel over the found images, transforming forgotten yet specific moments into ponderous scenes on the boundary between the everyday and fantasy.

 With these works and others, We Move Through Time Together offers viewers a glimpse of art and time as they intersect and contradict each other, mixing past, present, and future in the seemingly endless days of summer.  

 We Move Through Time Together is on view July 5 – August 19, 2016 at Sears-Peyton Gallery’s Chelsea location at 210 Eleventh Avenue. Summer Gallery Hours are 10 a.m. – 6 p.m. Monday through Friday. For more information or to request further press images, please contact the gallery at [email protected].

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Never-Ending Painting: An Interview with Shelley Reed

Artist Shelley Reed excerpts small details from Old Master paintings, expanding and re-contextualizing them in her often large-scale black and white paintings. On a recent sunny morning in Brooklyn, Amy Rahn spoke with the artist about the origins and intentions behind her work, the time-traveling potential of representation, and her current exhibition at Sears-Peyton Gallery.

Check out Shelley Reed’s interview on Artsy!

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“Bittersweet”

Susan Graham, Simone Shubuck, & Wendy Small

April 14 - May 15

Curated by Wendy Small

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Time and Place: An Interview with Kathryn Lynch

Check out this wonderful interview with Kathryn Lynch on Artsy!

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Lourdes Sanchez

A swarm of flowers, some looking like mere ink stains, others evoking retro designs of wallpapers; patterns of color, saturated stripes, drops and circles, quite inspired by design. That’s how one would describe the art of Lourdes Sanchez, a Cuban-born artist and textile designer currently residin

Widewalls Magazine names Top 10 Contemporary Watercolor Artists to Follow including Lourdes Sanchez!

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Kathryn Lynch, A View of One’s Own

February 11 - March 12, 2016

Opening Reception: Thursday, February 11, 6 - 8 PM

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Jane Rosen at Sears Peyton gallery

One of the best shows of the new season in Chelsea is at the Sears Peyton gallery, “"Cash-Morandi”, the elegant and remarkable sculpture and drawings of Jane Rosen. Confronting and perhaps paying homage to Giorgio Morandi while maintaining ones own artistic integrity must be a daunting task. For Rosen, I believe this began any number of years ago when she started making pieces by blowing glass. When she recognized the sanctity of the objects that emerged from the process of expelling breath, she could appreciate why Morandi refused to allow his vessels ever to be  dusted. Morandi was a painter, so his object muses remained in 2 dimensions

While Rosen’s artistic translations require 3 dimensions made out of kiln cast glass, limestone, marble and pigment.

But Rosen was not finished with her journey. She needed to integrate the Morandi like objects with her own signature objects, the birds. The resulting “Morandi Installation” whose effect is bordering on the ethereal, but is as rock solid as the limestone that makes up the bases.

Taking as much from Egyptian prototypes of heiratic sculptures

as from the magical mixture of form and materials of Brancusi’s “"Bird in Space”, 

the “"Morandi Installation” amounts to a shrine. It is an “object” lesson For younger artists as to how to assimilate the work of another while maintaining ones own artistic integrity.

As the title of the show indicates, there is another component, Cash, one of Jane Rosen’s extended animal family. Cash was a magnificent horse who graced Rosen’s farm for years and recently passed on. She has memorialized him with drawings

in which she equates  and integrates the Morandi objects; sculptures of hooves (I swear I can picture the entire horse)

 and what I can only describe as drawing in sculpture.

The horse has been portrayed for centuries in the history of art either as an attribute to be ridden by a hero or for purposes of personifying emotions a la George Stubbs. Rosen, rather, treats Cash as a true being with personality. The result is that the exhibition is one of portraits, Cash and Morandi, who’s essences are sifted through the alchemical creativity of Jane Rosen.

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Thank you, Douglas Maxwell for this wonderful perspective on our current exhibition, Jane Rosen: Cash-Morandi!

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Insightful feature of New York artist Celia Gerard on #apieceapartwoman

There’s a quiet complexity to the art of New York painter and sculptor Celia Gerard, whose interdisciplinary work explores shape, line, and the blurring of color through abstractly geometric responses to surroundings; it’s a repackaging and reimagining of a landscape in puzzle piece format. Nine months out of the year, Gerard works from New York City, where she balances her own artwork and upcoming shows with teaching at Pratt, School of Visual Arts and Columbia University. For the remaining months, she retreats to quiet Wainscott, NY, in the farmhouse she shares with her partner Mark, where — in between walks around the neighborhood and to the nearby farm stand— she cranks out work from a backyard studio. Just as the seasons started to change (and on perhaps the only rainy day of the season), we visited Celia at home to discuss her art-driven upbringing, her upcoming projects, and the concepts that inform her ongoing work. Click link to read the interview.

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In Poetic Works, Maysey Craddock Transports Gulf Coast to New York - BURNAWAY

Maysey Craddock took the title of her show, “Langsam Sea,” from a poem by Anne Michaels, which reads, in part: “In time, night after night, we’ll begin to dream of a langsam sea, waves in slow motion, thickening to sand.” A German term, often used in musical notation to direct the musicians to play slowly,...

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Ten Years after Katrina, an Artist Reflects on the Gulf Coast

Maysey Craddock: Langsam Sea at Sears-Peyton Gallery

Maysey Craddock, last night’s moon, 2015

As narratives of disaster and recovery proliferate with the approaching tenth anniversary of Hurricane Katrina, Maysey Craddock’s exhibition of recent paintings at Sears-Peyton Gallery evokes a different narrative of the Gulf Coast—not of sudden disaster, but of gradual, nearly imperceptible change over generations.

Langsam Sea, Craddock’s third solo exhibition in New York, borrows a phrase from poet Anne Michaels for its title. “Langsam” a German word for physical or procedural slowness here suggests languid days Craddock spent on Alabama’s Perdido Bay, where her family has gathered for generations. In Langsam Sea the artist renders the Gulf coastline as it slowly shifts from both natural and man-made forces. In these gouache paintings on found and stitched paper, Craddock offers viewers the chance to contemplate the Gulf Coast not from a circling FEMA helicopter, but from the artist’s tranquil place on a familiar—if vulnerable—shore.

Maysey Craddock, lost bay, 2015

Craddock based the works in Langsam Sea on photographs she took on Perdido Bay’s shoreline bristling with trees and rippling reflections. After pressing brown paper bags and stitching them together with silk thread, Craddock created abstract paintings of the wooded coastline and marshes. She calls her stitched paper surfaces “palimpsests” for the way they retain their history, a practice influenced by Bill Traylor’s use of found cardboard. Craddock’s process draws on the traditions of self-taught artists and landscape painters to render works that hover between object and representational plane.

Maysey Craddock, saltlines, 2015

In Craddock’s Saltlines the tree-lined shore turns vertical—a pale filigreed Rorschach baluster against a brown paper ground. In interlaced patterns of branches and their reflected doubles, Craddock renders a landscape that refuses to harden into permanence, writing, “I’m interested in the landscape of water/land as a site of constant change. Land disappears and is redeposited. A coastline is like an active ruin, constantly being reinvented.” In these works, Craddock offers a meditation on the inevitability of change and the comfort of the slowly churning sea always lapping the shore.

“Maysey Craddock: Langsam Sea” is on view September 10 – October 10, 2015 at Sears-Peyton Gallery’s Chelsea location at 210 Eleventh Avenue. An evening reception will take place September 10 from 6:00 – 8:00 p.m. Sears-Peyton Gallery is open 10 a.m. – 6 p.m. Tuesday through Friday, and 11 a.m. – 6 p.m. Saturdays. Find more images from the exhibition here.

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With Silk as Her Canvas, Lourdes Sanchez Finds the Rhythm of Paint

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Sears-Peyton Gallery is pleased to present "Hiding in Plain Sight", the gallery's fourth solo exhibition of New York artist Bo Joseph, on view April 16 to May 16, 2015. This exhibition will feature 8 works on paper.

Joseph developed his resist process over many years of experimentation and the resulting multilayered, patched together fields with their dense accumulation of marks are very specific to his very personal technique. Oil pastel and water-based tempera are layered, scraped with a razor and coated with acrylic-based ink before being rinsed with water, laid to dry and later reassembled.  Joseph chooses to work with extremely delicate paper, which puts the work physically at risk of tearing and being worn through. The resulting patchwork is the byproduct of a very physical procedure in which the artist sometimes loses control of the outcome.

The balance between process and content is a delicate dance in Joseph's work.  In the piece "Hiding in Plain Sight", the silhouette of an upside down female figure descends from the upper right while a cascade of outlined objects including a repeating image of bird that is reminiscent of a sculpture found in a museum surrounds her.  The birds and the figure are both recurring images in Joseph's very personal vocabulary which is drawn from wildly disparate sources: artifacts, sculptures, ceremonial objects, and ephemera collected on his travels.  Unexpected combinations of images are integrated into intimate scenarios that resonate with multiple charged meanings.

Joseph has always been intrigued with forms that carry an archetypal or universal charge that transcends the cultural context of their origin.  In working with these forms and running them through his elaborate process he is seeking to assimilate these images and understand how their resonance persists despite shifting environments and time.

Bo Joseph (b.1969) has exhibited internationally and has been honored as the recipient of the Basil H. Alkazzi Award and fellowships in painting from Provincetown Fine Arts Work Center and the Rhode Island State Council on the Arts. He has been a visiting artist/lecturer at the University of Massachusetts, Dartmouth, and the Rhode Island School of Design, Providence, where he has also taught drawing. Joseph was chosen to design a table environment for the Brooklyn Museum’s Artists Ball in 2011. His work is held in international public collections including the Museum of Fine Arts, Houston; the Kemper Museum of Contemporary Art, Kansas City, MO; The Springfield Museum of Art, Springfield, OH; and the Guilin Art Museum, Guilin, China.