STONE HARBOR, N.J., May 31, 2012 /PRNewswire/ -- As a founding member of The Hollies, and Crosby, Stills & Nash - a band that has been called the "voice of a generation," Graham Nash has made his indelible mark as a music legend. This July, the multi-talented Graham Nash offers a glimpse at another artistic passion when he debuts his never before seen artwork at Ocean Galleries in Stone Harbor, NJ.
The Art of Graham Nash exhibition is a worldwide, first-ever showcase of Graham Nash's exquisite artwork. The exhibition opens at Ocean Galleries (9618 Third Avenue, Stone Harbor) on Thursday, June 28, 2012 and runs through Sunday, July 8, 2012. Graham Nash will be at the gallery signing purchased artwork on Sunday, July 1 from 7:00 PM until 10:00 PM.
"We are humbled that Graham chose Ocean Galleries to debut his paintings, pastels, and artistically enhanced photography," said gallery owner Kim Miller. "When we first started researching the possibility of hosting this exhibition, we searched all over the Internet looking for examples of his artwork to no avail. We then learned from Graham that, although he has shared some of his photographs in a few select viewings, his exhibition at our Stone Harbor, NJ gallery will mark the first time he shares his amazing original artwork with the public. The pieces are absolutely magnificent – what a talent! People will be blown away when they see the exhibition!"
Graham Nash is a true modern day Renaissance man. He was inducted into the Rock and Roll Hall of Fame twice - once with Crosby, Stills & Nash and once with The Hollies. He has been inducted into the Songwriter's Hall of Fame twice - both as a solo artist and with Crosby, Stills & Nash. In 2010, he was named Officer of the British Empire (OBE). His company's original IRIS 3047 digital printer is now housed in the National Museum of American History at the Smithsonian Institution in recognition of his revolutionary accomplishments in the fine arts and digital printing world.
Born in the coastal town of Blackpool, England and raised in Salford, near Manchester, Nash picked up a camera before a guitar; he was inspired by his father, an amateur photographer. Taking pictures of his family at age 11 proved life changing for Graham, who has said, "That was the first time I realized that I could see things differently." The guitar and further watershed moments came shortly after when, at age 13, he decided that music was his calling.
The artwork of Graham Nash represents the manifestation of his love for music and art over the past 50 years. There are a variety of techniques used in his artwork, many of them a natural evolution of his experimentation with photography. Several of his pieces incorporate block print or newsprint, mixed with photography, each piece more unique than the next. The artist's story behind each distinctive piece of art is arguably as special as the artwork itself.
Over his history-making life ensconced in the music industry, Nash captured the fleeting moments with photographs and written stories, many of which eventually became songs. Delving into this area led to the creation of "Love, Graham Nash" – a handmade fine press book that is a sublime celebration of the artist's photography, music, and life. The collection focuses on the 1960s and 1970s, a period that Nash's era-defining artistry helped shape. Portraying friends, family, and fellow musicians, they capture the essence of a momentous time in American culture. The collection includes Nash's photos of band mates, other famous singers from Johnny Cash to Joni Mitchell, and handwritten notes of lyrics that are now second hand to generations of fans. A few copies of the coveted book, which was released as a limited edition keepsake (80 copies), will be available for purchase during the exhibition.
The Art of Graham Nash exhibition will include 91 of Graham Nash's exquisite paintings, pastels, and artistically enhanced photographs. The limited run exhibition opens at Ocean Galleries (9618 Third Avenue, Stone Harbor) on Thursday, June 28 running through Sunday, July 8, 2012. Graham Nash will be at the gallery signing purchased artwork on Sunday, July 1 from 7:00 PM until 10:00 PM.
The Stone Harbor location of Ocean Galleries is open from 10:00 AM until 10:00 PM daily throughout the summer season. For more information or for directions, call 609-368-7777 or visit www.oceangalleries.com
For over 25 years, Ocean Galleries has provided quality art by contemporary artists to their clients while practicing the highest standards of credibility and integrity in a comfortable and unpretentious atmosphere. With locations in Stone Harbor and Avalon, New Jersey, the distinguished art galleries feature an ever-changing display of artwork that includes local artists' watercolors, nationally recognized artists' originals, popular beach prints and high-end reproductions. Ocean Galleries also carries fine furniture and hand-made crafts from America and around the world. For more information, please call 609.368.7777 or visit www.oceangalleries.com
Source: finance.yahoo.com
Like artwork for Broncos No.9 - NRL
Andrew McCullough has spent enough time in the gladiatorial arena of the NRL to retain imore scratches than your Backstreet Boys’ self-titled debut album in 1996 (don’t lie, you all have it).
And yet here he was, in the bowels of Melbourne’s AAMI Park after a disparaging loss to the Storm, sitting with his right ankle elevated and ice heavily bandaged around his right knee, looking every bit the combatant that had just survived a full 10 rounds with the game’s competition heavyweights.
It’s far from the exciting artistic talent dad Graeme has turned out to be in Dalby, a man whose more famous today for his dabble in art than his dilly-dallying in rugby league.
“It’s more of a hobby since he’s getting on a bit now,” McCullough says to Big League.
“But it’s something he wants to do as he gets on. He’s finding it a bit hard to get up the trestles and paint now. But he and Mum have got an art gallery in the Commonwealth Bank in Dalby now so they’ve refurbished that.
“He’s going well out of it and he’s enjoying it. They’re building a house out there now so they’ll finish up there I think.”
But while McCullough may laugh off the proverbial comparison to his old man, there’s clearly something in the family DNA that has emboldened the talented hands of the 22-year-old in 2012; a creative instinct gradually being brought out by Broncos coach Anthony Griffin.
In the wake of Darren Lockyer’s retirement at the end of last season came the arrival of hot-shot five-eighth Corey Norman. But Norman, who has thus far exceeded the tough expectations in filling the boots of a club legend, has done so with the help of his tradesman-like hooker, a man who has played under Griffin since the inaugural Toyota Cup Grand Final of 2008 and has now been entrusted to utilise his attacking wares in the top grade.
McCullough’s six try assists in 2012 are the most by any hooker in the competition and is equal to his total try assists in 76 NRL games in the four years prior. It’s all part of a gradual evolution Griffin has tried to coax out of his young star, a Dalby Devils junior who to this point has forged a reputation as a tackling machine as opposed to a dangerous strike weapon.
“The hooker’s a big part of the modern day game. You touch the ball more than anyone,” McCullough explains.
“You’ve got to create something for your forwards, but obviously if there are opportunities there, you’ve got to take it. That’s what the great hookers in the game do now. I’m slowly working hard on my game to try and be consistent.”
A largely inconsistent 2011 that included a club-imposed one week suspension for an off-field incident in June was followed by a pre-season pow-wow with Griffin that left McCullough questioning his place in the squad.
“I haven’t set any big goals, I just sat down at the start of the year with [Griffin] and thought about where I wanted to be this year,” he says.
“We had a chat and I knew that I needed to perform for the Broncos week in, week out. I’ve probably made smarter choices. Just making the right options and being honest with yourself.
“Hook’s really into me about making sure my preparation’s right and making sure my worst game is not too far from my best game. It’s an important position these days – there’s a responsibility that comes with it.
“And it’s a confidence thing. I’ve worked hard and the boys are certainly helping out. Hook’s given me that opportunity. Kurt [Baptiste] and Ben [Hunt] are knocking at the door so there are plenty of opportunities for blokes to take your position if you’re not performing.”
Says Griffin: “He’s getting more selective with his ball play and his conditioning’s a lot better.
“He got thrown in the deep end [in 2009] but that’s been really good for him. He started at a really young age… 18 playing first grade, he’s probably played 70 or 80 games now.
“[But] there’s always something to work on. He can keep working on his attacking game out of dummy-half and his kicking game. He’s worked very hard but [the try assists] is something we’ve tried to develop a bit more as a group with the halves and hookers. He’s certainly making a bigger contribution in that area.”
Slowly and surely McCullough is becoming an all-round player, instead of the one-dimensional hooker that we’ve seen in the early stages of his career. He may not be the Vincent Van Gogh of rugby league, but there’s no doubting his artistic influences are beginning to come to fruition in 2012.
As for swapping the footy boots for a paintbrush, however, McCullough admits that’s one ability that may have eluded him.
“I think I missed that gene. I certainly can’t draw or paint anything like [Dad] can,” he says.
Source: www.nrl.com
Artwork of Miranda Maynard broadens definition of Asheville photography - Examiner
Viewers who equate Asheville photography with images of the Blue Ridge Parkway will likely need a bit more time to take in the photographs of Miranda Maynard. Her subject matter may involve something as simple as sparklers, but her compositions provoke more questions than answers. Her most recent body of work, “Manners,” reveals an extremely cohesive aesthetic that revolves around play, fastidiousness, and vulnerability.
Six of Maynard’s color archival inkjet photographs from this body of work are on view at Coop Gallery in downtown Asheville in a group show entitled “Too Close to Home.” The show has been extended to June 4, and also features the work of Asheville photographers Matt Brown, Phaedra Call-Himwich, Scott Hubener, and Dawn Roe.
Maynard states that the attraction to the materials in her photographs is almost completely aesthetic. Viewers can see this in the example of “Dog Nest,” an image of two oranges wrapped in a blue blanket, where her use of complementary colors cannot be ignored.
Color also plays an obvious role in “Beets,” in which a male figure wearing white sits before a table of canned beets, his clothing and hands stained from the magenta liquid. He blocks his face with his hands, fitting with many of Maynard’s images in which she usually obscures or crops a figure’s face when present.
Maynard admits she is drawn to food as a subject matter in her work, and this merges with her consciousness of color in “Candy.” Red M&M’s lay on a white-carpeted floor against a white door. What is striking about this image is the curious way the candy piles around the open door, as though the pieces had been laid out along the door when it was closed, but were forced into a pile once the door opened.
Such quizzical actions continue with “Bad Feet”, where daylight falls on a bed, revealing female legs from the knees down. The toes are wrapped in red string, constricting them until many have turned purple. The contrast between the beauty of the light and the painfulness of the act is compelling, suggesting criticism of the body in a way that many viewers can likely relate to at some point in their lives.
These critiques, messes, and labored details converge into a strong psychological portrait that is best-appreciated by viewing the larger body of work. More of “Manners” can be seen on Maynard’s website (please be advised that it contains some partial nudity). Coop Gallery is open 11 a.m.-5 p.m., Monday through Friday, and is located at 25 Carolina Lane in downtown Asheville. The gallery will be also open from 5-7 p.m. on Friday June 1 for the Asheville Downtown Gallery Association’s Art Walk.
Source: www.examiner.com
City Hall artwork open for comments - Columbia Daily Tribune
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Artwork proposed for the fourth floor of Columbia's City Hall incorporates ceramic teapots and cups, and the city is seeking public input on the project. Artist Norleen Nosri created a proposal for artwork to be placed in the area that includes ...Source: www.columbiatribune.com
Jubilee painting coming to Castle Galleries - miltonkeynes.co.uk
A PIECE of artwork that offers a modern twist on a classic Royal portrait is coming to a city art gallery.
Castle Galleries, located at thecentre:mk, has taken delivery of the striking royal portrait, which is hand embellished with Swarovski Crystals, to mark the Queen’s Diamond Jubilee.
The side-profile painting is the work of Royalist and famed British artist Louise Dear. Entitled ‘Our Young Queen’, the artwork will be on display at Castle Galleries from Saturday.
Manager at Castle Galleries Milton Keynes, Peter Viet-Lu, said: “‘Our Young Queen’ shows an innocent, demure and youthful Queen Elizabeth before her sovereignty, set against the backdrop of her kingdom – a Union Jack teamed with an array of flowers and animals, including a queen bee and a regal robin.
“Crafted with the simple ambition to create an exquisite, contemporary and figurative piece of art that is fit for a Queen, enthusiasts of Dear will immediately spot her trademark characteristic stamp on the unique portrait – a playful mix of colour and passion, which is packed full of romance.”
Inspiration for the portrait came from a 1951 photograph taken by Yousaf Karsh, before the young Elizabeth was even crowned.
Devon-based artist, Mrs Dear said: “The feeling of patriotism is so strong this year that I had the desire to create an iconic image that would inspire generations to come.”
Each limited edition print is available to purchase from June 2-10. The print will be available as a limited edition of just 60, priced at £995.
For more information on Louise Dear or to request a catalogue of her artworks please visit www.castlegalleries.com
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Print this pageSource: www.miltonkeynes.co.uk
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