Time, Space and Matter: Paintings by Amy Kerr Hardin

Turtles, All the Way Down
Oil on Canvas, 16" x 40", $1,000

Microcosm
Oil on Canvas with Mixed Media, 24" x 24", $700

Orrery
Oil on Canvas, 48" x 48", $1,500

Apeiron
Oil on Canvas, 36" x 48", $1,400

Musica Universalis
Oil on Canvas, 48" x 36", $1,400

Arts and Letters
Oil on Canvas, 24" x 48", $1,200

Paper Chase
Oil on Canvas, 30" x 24", $1,000

Coriolis
Oil on Canvas, 40" x 30", $1,200

Brother-Sister
Oil on Canvas, 36" x 24", $1,000

Mother-Daughter
Oil on Canvas, 36" x 24", $1,000

Father-Son
Oil on Canvas, 30" x 24", $900

Amy Kerr Hardin has been an oil painter for four decades ever since she discovered painting at the age of twelve. At about the same time she entered junior high school and took a science class titled “Time, Space, and Matter”. Here she gained a lifelong fascination with the physical universe - - those properties known and those of theory became Amy’s area of interest.

This collection titled “Time, Space, and Matter” is an homage to that long-ago science class which inspired that nascent artist with an inquisitive mind.

Mythology, fantasy, and the world of dreams is woven into these works. Amy also took inspiration from the study of the human mind’s perception of the universe. Bilateralisation, also known as “left-brain/right-brain” plays an important role in this collection. Each piece stimulates both the linear left hemisphere and the holistic right hemisphere. These paintings represent both our inner and outer universes.

Amy’s style is bold and meant to be attention-grabbing. They are not intended to be the docile companions of beige sofas. Her works have been purchased regionally, nationally and internationally by collectors with an eye for her bold style and confident hand.

Amy maintains a busy studio overlooking the beautiful woods of Williamsburg, Michigan. Each season brings new light and new inspiration to her and her work.

The show will be up through September 6, 2011. Please contact Gallery Fifty at 231-932-0775 to inquire about Amy's work.

Carolyn Hudson: Attention to Detail

Carolyn Hudson: Attention to Detail
August 6 - September 30, 2010

Carolyn Hudson draws her inspiration from the local landscape and wildlife and she is best known for her beach stone drawings and dog portraits. She started her career working primarily with graphite, but slowly added colored pencil to her repertoire and has been working strictly with that medium for the past twenty-five years. She has recently added the silver-point drawing to the mix which has the feel of her old roots in graphite. Hudson is a signature member of the Colored Pencil Society of America and received her bachelor of art degree from Waynesburg University.

The public is invited to an opening reception at the Grand Traverse Commons location on Friday, August 6 from 6:00 - 8:00 p.m.; 231-932-0775. Can't make it to the show? Explore our virtual exhibition at www.galleryfifty.com after the opening.

June/ July 2010 Virtual Exhibition: Rufus Snoddy

Innocuous
Mixed Media; 16" x 23.5"
$1,200

Summer Harvest
Mixed Media; 35" x 17.5" x 7"
$1,500

Rolling Up North
Mixed Media; 38" x 16" x 4"
$1,000

Specimen
Mixed Media; 24.5" x 17.5"
$1,200

Hidden Future
Mixed Media; 22" x 11" x 11"
$1,000

Ritual
Mixed Media; 27.5" x 18"
$1,500

Mickey Rat on the Yellow Brick Road
Mixed Media; 36" x 24"
$2,500

Camo Chic
Mixed Media; 35" x 11.5"
$600

Piece of Perception
Acrylic on Wood; 26" x 24"
$500

X
Acrylic on panel and wood; 25" x 22"
$800

Worm Man
Acrylic on Panel; 29" x 23"
$600

Enigmatic Elements
Mixed Media; 55" x 20.5"
$2,500

Remnants of Past and Now
Mixed Media; 57" x 19.5" x 7.5"
$4,000

Duality
Mixed Media; 16" x 18" x 9"
$600

Pissing On/Off The Bull
Mixed Media; 54" x 32" x 7"
$4,000

Journey to Cherryland
Mixed Media; 20.5" x 12" x 5"
$800

Trophies
Mixed Media; 60" x 31" x 11"
$3,500

Center
Acrylic on wood; 30" x 24"
$500


Conversation on the Hill
Mixed Media; 19" x 14" x 10"
$800

Tribute to the Seasons
Acrylic on Canvas and Mixed Media; 46" x 85"
$5,000

Texture with Detail #1
Acrylic on Board; 10.5' x 12.5"
SOLD

Texture Detail with Limb
Acrylic on Wood; 18" x 10"
SOLD

Post Urban - Northern Mid-West: New Work by Rufus Snoddy

Now showing in the Mercato, adjacent to Gallery Fifty at the Village at Grand Traverse Commons through July 31, 2010.

Rufus Snoddy moved from Los Angeles to northern Michigan eight years ago, and this show is his response to that change. The artist describes his "head space" as The Wizard of Oz meets Alice in Wonderland while creating this new body of work. Sticks, twigs and accumulations of nature have replaced the motherboards, industrial remnants and collections of urban refuse. Elements of urban angst have slowly morphed into serene textures of a more natural environment. Though Snoddy is "not in Kansas," nor L.A. anymore, he has been seduced by the Midwestern spirit and is loving it.

Artist Statement
Northern Michigan is a long way from Los Angeles, evidenced by the colorful reactions I often get when bringing up my city of origin. The most common reactions are those of overwhelming traffic, way too many cars and way too many people. Most L.A. natives have these sentiments also. Other reactions might include the typical urban issues of crime, vice and corruption. The clichéd “Land of fruits and nuts” has also been heard rolling off the lips of some. All of these, clichés included, fueled my creative drive while growing up and living in el cuidad de Los Angeles. So, some may wonder what the affects of relocating to Northern Michigan are having on the creative inspiration of a transplanted west coast visual artist. I am one of those.
Having worked and lived here for eight years, a budding Michiganian, this is the first work I have done from the perspective of a genuine hybrid. As with Los Angeles, my day to day living environment has had much influence on my sensibilities and direction. The Wizard of Oz meets Alice in Wonderland is somewhat descriptive of the head space I have been in for the past two years while creating most of this work. Trying to find place and direction as an African American male, after following a now ex-wife back to her home, was a bit like Alice following the white rabbit with the watch.
Living on the northern bays of Lake Michigan is often dreamlike in its beauty and charm. It's also simultaneously confusing in its provincial seasonal rituals, to one who grew up in a place of constant seventy degree weather. The seemingly slavish-like devotion to hunting and fishing seasons is at odds with my city-dwelling sensibilities. Worlds of gang culture, movers and shakers and the commonplace nattily attired gives way to a world of farmers, outdoor recreation and camo.
I have learned to embrace the grays and whites of winter and celebratory colors of fall. Northern cool blues and greens replace the western warmth of reds, ochres and browns. The melted snow and other of Mother Nature's liquids are absorbed by the soil and our souls. Spring blossoms, and preps for harvest fill our world. They are slowly replacing the Pacific Coast's Urban-Chic yields of asphalt, vanity and beaches. Sticks, twigs and accumulations of nature replace the motherboards, industrial remnants and collections of urban refuse. Symbolic textures of urban angst are slowly morphing into the serene textures of a more natural environment.
The political climate is the one constant. Dogma tends to be more conservative in these parts than the west coast. But the “Mickey Rats” are found on the “yellow brick road” as they are found in the “Hills of Beverly”, just not as often. It is becoming commonplace for me to feel like Alice, swimming in a pool of my own tears and offending those who are swimming with me by talking about the things I love.
Though “I am not in Kansas” nor L.A., I am being seduced by the Midwestern spirit and loving it.

Breaking Boundaries: The Art of the Quilt

Gallery Fifty is thrilled to announce the opening of "Breaking Boundaries: The Art of the Quilt." Twenty-five regional art quilters were selected to participate by gallery owner Christie Minervini and guest curator Desiree Vaughn.

Artists were chosen for their unique design abilities, skilled craftsmanship and overall commitment to fiber art. Vaughn is being featured in the adjacent Rinaldo Gallery with her latest work.

Awards were announced earlier this month. First place and a $300 cash prize went to Pat McKean for "Blaze" (see photo); second place and $200 went to Jill Ault for "Divided Circle: Anthracite"; and third place with $100 went to Lenore Crawford for "Hybrid Lily III".

Honorable mentions went to: Jacky Trimble, "Thinking Outside of the Box 3"; Virginia Spiegel, "Boundry Waters 19"; Jeanne Beck, "Harvest"; Pamela Allen, "Autumn"; Susie Vigland, "Big Baby Girl"; Sidney Inch, "Plastic Fusion"; Lynn Krawczyk, "Talk to Me I"; Sue Holdaway-Heys, "Land of Blue"; and Lisa Chipetine, "Trapped."

"We were really hoping to capitalize on the interest that the Dennos Museum has generated with their 'Twelve Voices' show," says Minervini. "We're so proud of our exhibition — it really has exceeded expectations."

Over 100 art quilts are on display through the Mercato at the Village at Grand Traverse Commons through December 31, 2008. Gallery hours are Monday - Wednesday 10:00 a.m. to 6:00 p.m.; Thursday - Saturday 10:00 a.m. to 9:00 p.m. The exhibition may be viewed on-line at www.galleryfifty.com. Call 231-932-0775 for more information.

Ways of Seeing: The Abstract Art of Jennifer Gardiner Lam, Delbert Michel & Debra Lanning

The current exhibition runs from May 3 - July 31, 2008

Explore the worlds of three talented abstract artists and take away your own impressions. Their art depicts real forms in a simplified or reduced way, keeping only an allusion of the original natural subject.

The landscape... the human form... even music... all used as starting points. Where do their creative journeys take them?

Check out the entire exhibition on our web site at: www.galleryfifty.com.

"Hearts & Flowers" Exhibition

"Hearts & Flowers:
An Exploration of Love"
February 9 -April 30, 2008

Gallery Fifty is currently featuring an all-media exhibition and sale featuring the work of our favorite artists and craftspeople. The show ended up being 2-3 times larger than expected with 80 pieces submitted by thirty artists. Cash prizes were awarded for first, second and third place and nine honorable mentions were awarded:

First Place - David Petrakovitz, "Love Totem"
Second Place - Melonie Steffes, "The Lovers of Verdona"
Third Place - Rod Bearup, "Passion Flower Blossom"

Honorable Mentions:
Debbie Sparks, "Hide and Seek"
Anna Hildebrand, "Lady in Lace"
Julie Pearson, "Live What You Believe... Make Your Whole World Your Art"
Nancy Crisp, "Sudokad"
Rufus Snoddy, "From the Garden of Wisdom"
Carol C. Spaulding, "Splash"
Flora Ricca Hoffman, "RAH"
Timothy G. Lewis, "Valentine Cat & Bird"
Joe DeLuca, "Bleeding Hearts After Dark"

We've already sold twelve pieces, but you can view the available work on-line at www.galleryfifty.com.

Common Ground: Works by Jerry Gates

Common Ground: Works by Jerry Gates
November 3 - December 31, 2007

"Third Thursday" Artist Reception on November 15 from 6:00 - 9:00 p.m.

At Gallery Fifty, we are really excited and proud to present a comprehensive showing of Jerry Gates' work. The show consists of both framed representational and abstract mixed media paintings. Over seventy-five pieces will by on display and available for viewing on-line at www.galleryfifty.com.

Jerry has been an experimental artist for many years because of his fascination with light and color, surface and texture, subject matter and form. His deep belief in the Jungian premise of a "collective consciousness" has inspired him to create content that will be inwardly understood. His aim has been to take the viewer past the obvious to discover that which lies beyond the surface, with an intangible, but deep understanding of his or her own personal aesthetics.

Jerry holds a Master of Fine Arts degree. He has been an Assistant Professor of Art at Central Michigan University and is currently Adjunct Professor of Art, Northwestern Michigan College.

Artist Statement:
My work, I suspect, is a product of Jungian psychology and familiarity with things past and present. Not unlike the Romantics of the 18th Century, I have attempted to capture both the beautiful and the sublime, something fleeting but still in stasis, something inwardly understood in a universal sense. It is this collective consciousness that I try to tap, a soul tweeking, if you will; this "I think I have been there before" or experienced "this" before.

Someone once said "Art is a lie that enables us to see the truth." When one unearths what is beneath their own aesthetic, they become enlightened to the infinite possibilities of the creative endeavor.

It has been my goal to represent this philosophy by testing my curiosity in different media and subject matter. This has helped me to codify my own existence as silent observer, participant and explorer.

Selected Works: Five Decades

"Selected Works: Five Decades" is our current exhibition of drawings, paintings and constructions by Michigan artist Joe De Luca. The show is up until October 31, 2007, with an artist reception on Thursday, October 18 from 6:00 - 9:00 p.m. This is by far the largest show we've installed with upwards of 75 pieces, many very large.

Joe's work can be found in numerous public and private collections. A professor of Art at Western Michigan University for thirty years, he has consistently exhibited in solo and group shows, garnering numerous awards and reviews in national publications.

Artist Statment:

My work is a microcosm of the landscape and deals with my emotional and intuitive responses to my environment. I am fascinated by textured, weathered and time-worn objects and surfaces. The effects considered are those of light, atmosphere and shadow.

Extended travels to Europe, and especially Italy and Portugal, have resulted in important motivational sources in my painting. Italy is a place to better understand my heritage and an environment in which to seek and study high art and architectural treasures. The Etruscan civilization became a significant resource during the early 80's. In recent years, my interest shifted to Portugal, as it seemed a natural extension of my interests in antiquity. This, the oldest country of Europe, offers a powerful, rough presence and unpretentious charm.

I presently work on large-scale canvases and include such materials as tar, cardboard, metal, wood and found objects. The works, if successful, give the appearance of ruined sections of old walls, excavated from a prior ancient setting. The surfaces often reveal multi-layered, richly developed textural patinas through the utilization and combination of paint, collage, inlay and found materials.

Present images attempt to visually appear to mark a passage of time, as well as to describe the metaphysical nature of things. These considerations seem, at this time, to be reasons to dignify a particular space and maintain the delicate balance that life necessitates and demands.

Take a virtual tour of this retrospective at www.galleryfifty.com. (Photos by Don Rutt)

The spirit of the dialogue

Elements Floating, 2007, acrylic on mixed media, 27.5" x 24"

INNERSPACES: The Art of Rufus Snoddy
Exhibition and Sale at Gallery Fifty, Traverse City, Michigan
June 2 - July 12, 2007

Living in these times, one faces a difficult proposition trying to stay connected to nature. We are being so constantly bombarded by technological innovation. More and more glass, asphalt and concrete make for less and less access to green places in our living environments. I am not sure how consciously aware we are of the affects this has on our collective psyche. Personally, I find it more difficult to be in touch with physical survival instincts. Seemingly, for every natural urge there is a technological device designed to quell it by creating convenience or make it a step removed from significant physical activity. We call this progress.

“Innerspaces” make reference to the longing of my inner instincts to connect with the soul of survival of my ancestors and other indigenous peoples. Symbolically, I reflect texturally how this connection is made on a cellular level. The materials and images are selected and collected intuitively from unconscious internal conversational responses to my environment. These conversations, as always, include the ever present critic, or the “critical eyes,” as we live in times where everything must be objectified. It must be categorized, quantified and qualified. I experience this objectification process as a bold move away from our survival nature and the inherent nature of survival, toward a world of rampant consumerism. There seems to be an obsession with vanity and its creations. Much the same question I asked as a child, “Where are we going and why are we going there?”

Why is natural beauty not good enough?

Landscape Green, 2006, acrylic, oil, collage, 36" x 30"

Process...
Beginning my career as a sculptor, many years ago, I didn’t have the resources to set up a welding shop. This forced me to find a more practical approach to the art making process, one that encompassed sculptural sensibilities, of softer, more malleable forms. Having completed graduate work in kinetic sculpture, I had an acute affinity with the Constructivists. Painting was the most obvious nexus, though I had an aversion to picture-making. However, I pushed myself to make pictures. Having spent time in design and illustration, my first serious work was photo-realism. Unsatisfied, my pursuit of non-figurative painting began and lasted for five years or so. During this time I began adding sculptural elements to my work, which continues today. My natural proclivity was to treat my paintings as sculptures, which I decided to embrace. I saw these works as painted constructions or “Construction Paintings”, painting as object, much akin to Frank Stella, Elizabeth Murray, John Okulik and artists with similar approaches. The melding of painting and sculpture challenges and fulfill my aesthetic desire to connect with the spirits of my ancestors and other indigenous artists.

Visceral Future, 2007, acrylic on mixed media, 60" x 48"

Texture...
Texture is very important to me. From a sculptor’s sensibility, I build textures and surfaces to stress expressive illusion of color and space, treating a painting as object with the intent to obliterate the line between painting and sculpture. I search for origins that exist in genetic memory. This search is motivated by a hunger for structural and formal content. As an expression of faith, a supernatural vision, I place my trust in the spirit of my Ancestors to guide instinctual conceptual choices and material usage, with the hope to speak voices without words.

Landscape Blue, 2006, acrylic and mixed media, 36" x 30"

A singular presence

Gallery Fifty will be featuring new painted wood constructions by Michigan sculptor Larry Fox in July 2007. This solo show will feature many wall-mounted and freestanding pieces that showcase the artist's unique combination of form, texture, color and dimension.

Larry's work draws heavily from three areas of his background: architectural design, film set construction and furniture making. By mixing and re-mixing these disciplines, he gives each piece a singular presence.

The artist creates forms that challenge traditional sculpture techniques. The surfaces of his pieces are also treated with paint, adding even more dimension.

Look for his work in our new gallery space next month, or visit his virtual exhibition during the month of July at www.galleryfifty.com.

Happy coincidences and bizarre juxtopositions

I had another one of my psychic/ telepathic experiences in the gallery this evening. I was online researching John Gutoskey, an Ann Arbor artist, for this blog when he called. It wouldn't be such a strange coincidence if I'd spoken with him in the past six months! Freaky.

Anyway, we are both excited about his August 2007 show. John's settled on a circus theme and I can't wait to see what he's come up with. He's recently closed his massage therapy business to focus 100% on his art and has completed rennovations on his home studio.

Mixed media assemblage has become my favorite medium in the past few years and Gallery Fifty is one of a few northern Michigan galleries that goes there. John's work is way outside of the box (no pun intended) — a far cry from torn paper scraps and harware collage that we're used to seeing.

John's assemblages proclaim miniature universes. Flea market finds and cathedral reliquary collide. Shrines and game boards vie for attention. Enigmatic messages lurk beneath happy coincidences and bizarre juxtapositions.

Look for his work in the gallery or check out our virtual exhibition in August: www.galleryfifty.com.

Process, Decisions & Discoveries

Michigan printmaker Dorothy Anderson Grow recently agreed to have her work featured as part of our exhibition series in May 2007. I've long admired her work and even purchased one of her pieces from the "Getting the Bugs Out" show earlier this year.

Dorothy thinks of her art as a discovery and an adventure. Using the images that suggest her past, she assembles and layers ideas without a plan and often heads off in risky directions. "I love the physical activity of printmaking and the endless options the process provides. Each plate printed determines what will happen next, what the next layer will be," she says.

It is the process, the decisions, and the discoveries that keep her excited and involved. Dorothy's will be the inaugural show in our new space, and we're thrilled to be showing work like "Grandfather's Tools" above.

Look for future blogs with photos and a virtual exhibition of her work at www.galleryfifty.com.