An Exhibition by Yaron Rosner
Opening Reception – Saturday, March 25, 4-7pm
On View Sunday, March 26 – Sunday, May 7, 2017
Yaron Rosner’s paintings appear as if from dreams. A series of large-scale, richly painted portraits depict subjects Rosner describes as “living on the side of life.” A middle aged shirtless man stands staring at the viewer, an iguana perched on his neck, in a space between fear and confrontation. Rich in symbolism, humor, and contradiction, Rosner’s paintings portray both strength and fragility; a young man reveals a wound, a woman holds a drooping bouquet, another man cradles a turtle. Affinity for reptiles aside, there is purpose in Rosner’s pairings and dreamlike as they are, one sees oneself in the paintings.
Each subject is surrounded by a different variety of blooming flower, stitched together and thus charged. Neither background nor wallpaper, the flowers speak to electricity and DNA, forming a kind of protective sphere. Both the subjects and their accompanying flowers are imagined, yet Rosner knows them intimately and each carries a story. The portraits of Late Bloomers might call to mind the grand paintings of the wealthy or politically influential, though Rosner presents a canon of his own, capturing darkness amidst whimsy, drawing heroes from shadows.
YARON ROSNER is a multimedia artist based in Sugar Loaf, New York. Born in Haifa, Israel, Rosner graduated from the photography department at the Neri Bloomfield School of Design in 1989. Following his studies, Rosner moved to Paris where he spent several years working as a commercial photographer, pursuing his own practice and exhibiting widely. He later returned to Haifa, Israel to teach photography at WIZO College of Design. In 1998, Rosner and his family moved to Sugar Loaf, New York, and opened Rosner Soap. In the last few years, Rosner has returned to his artistic roots, painting figurative works with an engaging touch of symbolism.
Rosner has exhibited his work in many solo and group exhibitions in Israel, Germany, France, Turkey, and the United States. His work is collected by Bibliothèque Nationale, Paris, France, Paris Audiovisuel, and M.E.P – the European House for Photography, France. http://www.yaronrosner.com/
Sculptures on Long-Term View
The Eventual Outcome of an Instant
A Social Practice Sculpture Project by Sue Wrbican
Executed June-September 2015
Drawing inspiration from the surrealist landscape paintings of Kay Sage, Sue Wrbican designed a 27′ tall site-specific sculpture, Hyphen, for the Seligmann homestead. Situated at the highest point on the 55-acre homestead, Hyphen draws Sage’s charged surrealist landscapes into three dimensions, giving new insight into the experience of her under-appreciated work. A fourth dimension is implied through the lens of time and history. Constructed collaboratively using wood salvaged from a fire at a local lumberyard, the works resonate with the fact that Sage, prior to creating her painting, Tomorrow is Never, dreamt of burning scaffolds.
Book Tree, 2012
Jed Bark joined Holly Solomon Gallery when it opened in 1975 and exhibited there regularly until the mid-1980’s, when he shifted his full-time focus to Bark Frameworks. His works are in the collections of The Metropolitan Museum of Art, The Whitney Museum of American Art, and the Centre Pompidou, among others. Bark’s work was recently shown in the exhibition “Rituals of Rented Island” at the Whitney Museum of American Art (2014) and at Paris Photo (2016). An individual exhibition of his work, “Jared Bark: Photobooth Works, 1969-1976,” took place at Southfirst Gallery in 2015.
Crazy Column, 1976
526 x 53 x 53 cm
Bernard Kirschenbaum, born in 1924 in New York City, is an artist known for both his architecture and sculptures. Shortly after graduating from Chicago’s Institute of Design in 1952, Kirschenbaum moved to Massachusetts and opened an architecture firm along with several of his colleagues. The firm became well known for the development of the D.E.W. Line Dome System, which were a string of domes to cover radar equipment. After moving back to New York City in 1957, Kirschenbaum built a dome studio for artist Susan Weil, whom he later married. His focus shifted from architectural design to sculptural art in the 1960’s when he made a sculpture for a group show at a New York gallery. He had his first of many solo exhibits in 1969. Over the next few decades, Kirschenbaum exhibited art in a variety of locations including NYC, Washington D.C., Sweden, Wisconsin, and Finland. www.bernardkirschenbaum.com.