Gallery

DETOUR III pieces:
James
Elisha Standing
 

Steven Assael, born in New York City in 1957, is recognized nationally as one of the leading representational figurative artists of this generation. His portrayal of the human image is empathetic, ennobling and psychologically penetrating. Assael’s figure compositions reflect a love of painting and drawing that synthesize the characteristics of the past masters with a selective eye for the present. His compositions suffuse elements of naturalism and romanticism that blend the contemporary with the techniques of the old masters. He works from life and not photography, Arlene Raven has said of him, “Assael wants the greater possibilities of duration. More variety, and a broader range of values and colors, a chronicle of the transformations of changing light, spent over real minutes and hours with his model.”

Assael’s work is included in public and private collections around the world. Some are, The Kemper Museum of Contemporary Art & Design (Kansas, Mo.); Naples Museum, Naples FL;Yale University (Hartford, Conn.) Chicago Institute of Fine Arts (Chicago, Ill.); Solo and group exhibitions have included the Staempfli Gallery, New York, NY: Forum Gallery, New York, NY; Fendrick Gallery, Washington, D.C.; NY; Yale University Hartford, Conn.; San Francisco Museum of fine Art, San.Fran. Ca.; Arkansas Art Center; Kennesaw State University,Kennesaw, GA ; Stephen F Austin State College , TX: North Carolina University, Chapel Hill, NC; Philbrook Museum of Art, Tulsa, OK; and the National Museum, Gdansk, Poland: Naples Museum, Naples FL. In 1999, His work was exhibited in a ten-year retrospective at the Frye Art Museum in Seattle, Washington and CBS Sunday Morning ran a feature on the artist and the show.

Publications include: Steven Assael Drawings, Linden Hill ArtBooks 2000; Steven Assael Paintings and Drawings, 2009, Naples Museum; Born and raised in New York, NY, Assael showed an enthusiasm for art at a young age, taking art classes at the Museum of Modern Art at the age of four. He attended Pratt Institute in Brooklyn and currently teaches at The School of Visual Arts, New York, NY, and at The New York Academy of Art, New York, NY. Assael is currently represented by Forum Gallery, New York, NY and currently resides in New York City.

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DETOUR III pieces:
Green Landscape
Cuerpo de Agua

Isadora Capraro was born in Italy in 1994 and immigrated to Buenos Aires shortly after.  After attending the Manuel Belgrano National School of Fine Arts in Buenos Aires, Isadora decided to travel to the United States with the intention of apprenticing for prominent and professional artists, in order to achieve a complete and practical art education. Isadora lives and works in Southampton New York. Isadora's paintings construct a universe in which the human figure tenderly merges with the subtle world of nature. In this space time slows down and lends room for presence. Her characters are committed with the important task of inhabiting the self, performing this job in peace and with silent joy. Her work brings the viewer the possibility to attend that state of peace and stillness. 

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DETOUR III pieces:
Man and Woman
Backseat Driver

James Croak is an American-born artist concentrating on sculpture and photography.  Additionally Croak writes and publishes widely on art and cultural criticism. His art and writings appear in over thirty books.  

Croak works in series, often in unusual materials such as cast dirt, resulting in several popular groups:  the Dirt Baby editions, the Dirt Man series, and Window series.  

Many of his unique pieces are animal-human hybrids which he started making in 1979 and shown here as the “beasts.”  

A series of Croak’s drawings updates Fancisco Goya’s “Disasters of War” (Los Desastres de la Guerra 1810-20) with wars that have occurred since.  He employs the same central image with a coy title on the image as did Goya.  The works are drawn with mud on paper, the common conclusion of the thousand natural shocks the flesh is heir to.

New Skins for the Coming Monstrosities are appliances to extend our thin skin, and designed to protect us from the environmental insult found in modern times.

A recent project is the night landscape photographs entitled “The Other Twelve Hours” and includes shots as varied as the Arashiyama bamboo grove of Kyoto, the everglades in Florida and the Sonoran desert of Arizona.  

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DETOUR III pieces:
Feed the White Wolf
Piece of Cake
Eve Rising

Kate Maracle is the consummate Tribeca artist, having lived and worked in that neighborhood for a number of years. Kate Maracle is a woman painting women. Maracle explores themes of taking ownership of the feminine, a word intrinsically associated with weakness. This misconception is shattered by the emotive, instinctual works by Maracle. Experiencing the expression in Maracle’s work is to share in the gift of womanhood and to bring out of ourselves an intense self reflection.

In March 2020 her show “Feed The White Wolf”, was the first solo show by a female artist at Townley Gallery. Maracle is largely self taught and considers herself an intuitive painter. She arrived in Manhattan from a small town and never looked back, thriving in the city she has always considered her true home. Her resume includes four theatrical plays and designing a line of clothing for Henri Bendel. Maracle has been invited to exhibit her art work in a variety of group exhibitions. Her previous solo exhibition was at Tribeca Fine Arts and her work is held in numerous private collections and has been displayed by academic institutions such as the NY Academy of Art. Most recently her award winning short film, Tempest Tossed, has been accepted into numerous film festivals around the world as well as in Manhattan.

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DETOUR III pieces:
AIR 3
Black One
Blue Divide
 

I work in both Brooklyn and Greenport, NY on paintings that visualize the unseen “energy fields” in and among natural and man-made environments that are part of my life and travels. While in my backyard garden I started examining the plants and insects and begin to realize that the surrounding air was filled with birds, tiny bugs, dust and pollen and also with smells, sounds and electro-magnetic energy. My concern about climate change, cellular transmissions, radio waves, sounds and human manipulation of our environment lead me to perceive the universe beyond human senses and make “the invisible visible”.

Studying industrial color with the master colorist Albert King at Center College of Design in California influenced my personal color palette from the beginning. Early in my career I produced a series of Op Art paintings. I now use optical illusions such as concentric circles, spiraling ovals and contrasting colors to convey the energy elements in my work. To achieve a higher chromatic brilliance and surface quality I work in water-based Enamel paint. I often reinforce the importance of color by inserting color bars or color wheels in many of my paintings.

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DETOUR III piece: Modern Flight

The fictional landscapes depicted in my collages are inspired by places I’ve been but re-imagined into exaggerated environments offering a fantastical scene for the viewers to “walk around and get lost in”. I am drawn to architecture and geometric structures for both formal and symbolic reasons. The organized structure of buildings creates dynamic angles that can act as a visual navigational element through a composition. I extract geometric shapes and patterns creating order and juxtaposed them with the seemingly organic disorder of natural flora and fauna.

Architecture has symbolic meaning to me as a third generation American. Urban development tells its own story and embodies the history of class of struggle as families migrate and assimilate through the generations. My process begins with documentation: I photograph locations traveled as well as my everyday surroundings. I am inspired by the beach - I recall sitting by the water on Long Island and watching seagulls and other birds fly across the water. Their reflections in the water’s surface prominently following by. It still is to this day a soothing, peaceful sight to experience. I also enjoy walking around my Grandmother’s house in LA, where I the sunlight has a warm golden glow and landscape offers great wide vistas out into the horizon. I use these references to stitch together and combine landscapes with structures from various “memories.” This is the way we experience memories: we confuse the place and time and structures bleed together. We patch places together in our minds the way I collage photographs. These are the improbable landscapes of our memory, given physical shape.

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DETOUR III pieces:
Pope's Visit
Roadside Tree Interrupted
Interrupted Landscape Flash
 

Nancy received her initial training in Paris at the La Grande Chaumière where she studied foundational drawing. She received a Bachelor of Arts degree in 1973 at George Washington University with a major in painting. She earned a Masters of Fine Art at American University in 1978. In 2005 she painted at the Art Students League under Harvey Dinnerstein. She studied print making at Il Bisonte Scuola in Florence in 2007.

Nancy prefers to work in oil and gouache but is a student of art materials and is comfortable working in many media. Nancy has held various positions in which she functioned as an artist, illustrator or arts teacher. She worked at the Smithsonian Institution as an illustrator creating scientifically accurate, full color gouache illustrations of birds and dinosaurs for public exhibits and scientific studies. With fellow artists she went into the Martha Valle Middle School in 2000 and taught Puppet making workshops. In Washington, DC, 1980-82 Nancy taught painting and drawing for the National Cathedral School Continuing Education Program. In 1994-95 Nancy received an AIR at Henry Street Settlement, Abrons Arts Center in New York. Nancy is a founding member of Artists Alliance in New York; and has Exhibited in the annual Open studios held at Clemente Soto Velez Cultural Center from 1996 through 2007. She painted 11 portraits for “Faces of the Fallen,” an exhibition of paintings of American service men and women who had died in Iraq. The portraits were exhibited at the Arlington National Cemetery in 2005. There have been juried shows along the way, 2004 the 42nd Council, “Fresh Produce”2000 part of the New York City Fringe Festival at Charas el Bohio Cultural Center; and in 1999, “Line Up Sequences and Scopes” at Henry Street Settlement. Nancy received a MARK 10 grant from the New York Foundation of the Arts 2010. In January of 2013 Nancy spent three weeks in Rome at the American Academy in Rome as part of the Visiting Artists & Scholars Program. Most recently Nancy has exhibited at the Siren’s Song Gallery in Greenport 2009, 2010, and 2018.

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DETOUR III pieces:
Once Upon a Time 1
Once Upon a Time 2
Wedding Dress

My work is a search for memory unlike photographic memory. It involves a slowing of time as in a dream.  Continuous events like waves and tides inform the work and the painting process.  The image dawns slowly on the viewer offering a variety of interpretations. 
The process is unique, but 60’s and 70’s New York painting paved the way. 

I move between poured paintings on canvas, monoprinting and a wild array of mixed media. 
A recipe of paint, salt, oil, and minerals go onto the surface. 
Phenomenal and random events in nature echo this.  I aim at a sense of freedom and expansion.

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DETOUR III piece:
George Washington

I make drawings to explore man’s relationship with the urban environment he has built, juxtaposed against his tenuous relationship with nature. I am intrigued by the unlikely beauty of urban decay and constantly search for images which convey this disparity both visually and conceptually. My goal is to create work which communicates the continual state of decay and reclamation by nature that I experience living in the city. For me the urban landscape appears as a grey-scale. Because of this absence of color I have chosen to work primarily with charcoal on paper. The sooty feel of the medium conveys a sort of fading corrosion. I look for opposing themes of beauty and ugliness, despair and hope.

The inconsistency of allowing our created urban environment to decay leaves us without a place to be in the world, alienated from both nature and ourselves. My precise, detailed technique emphasizes the contradiction between our place in nature and the disintegration and gradual decline in soundness of the place we have built. I want to create a palpable atmosphere in which the observer can get lost. My current work has grown out of the diversity of my own experience. Having lived near wilderness, in rural, suburban and urban areas I clearly see the struggle to find a sense of belonging in the city. I want to challenge the ideas of urban life being simply glamorous or decrepit and show the everyday, slow failings we constantly live with.

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DETOUR III piece: Emergence

". . . the inner world for me is one vast camera obscura with all its images of light and ever-changing color. Then I seek outside for models to reflect that vision from within." -Charles Wildbank

Charles Bourke Wildbank, native New York artist, delved into photorealism while at Pratt Institute, created a sensation on Fifth Avenue with a giant sparkling rendering of the famed Cartier diamond, and has painted portraits of David Hockney and the late Luciano Pavarotti. He is well known for his versatility of a wide range of figurative themes including florals, still life, portraits and seascapes. 

Up to present day, observable form and vivid color have long been attributed to Wildbank's art. His recent works appear to flirt with the abstract and the surreal christened as his HADO series. His studio in Jamesport is now open to the public by appointment. The artist can be contacted at: wildbank@wildbank.com

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DETOUR III pieces:
8 Stones
9 Stones
Red's the Hardest
Furrow

My eye is drawn to the physical world, how light and shadow play on surfaces, the way nature cycles between growth, decay, and renewal. I observe the beauty of imperfections, how objects change in varying light, and at the nexus where different surfaces meet. I have been inspired by these transformations my entire career.

The dimensions of my sculpture varies from small intimate experiences, to large pieces that interact with the environment. I prefer to work in steel, stone, wood, and paper, all of which allows me to explore my ideas. I begin with an idea and as it develops, it ultimately evolves and changes. This is the process that drives me.

My most recent outdoor sculpture is “Furrow.” It was inspired by the plowed farm fields on the North Fork of Long Island. I was attracted to the way light moved across the surfaces of the plowed earth, and by the vanishing points of each row in the distant fields. It is my hope that as people observe similar fields, they may appreciate nature’s forms and abstractions—its weight and the play of light and that when they view any of my works they see the world through a different eye.

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