Green Kill 2024 Exhibition Schedule
Introducing the Green Kill 2024 Art Exhibition schedule.
January/ February
John McGiff’s solo exhibition at Green Kill from will be from Saturday, January 13, 2024 until Saturday, February 24, 2024.
The opening party is Saturday, February 3 fro 5-7 PM.
2024 Exhibition hours are always Saturday and Sunday 1-6 PM
If you wish a special apointment, please call 347-689-2323 or write to 229greenkill@greenkill.org.
John McGiff
I am naturally inclined towards making groups of images, exploring a central idea that best expresses my current interest and fashioning a visual vocabulary that develops as my vision grows.
A recent series, for example, is based on the palette and design patterns of Indian Ragamala paintings and involves using Indian block printing and gouache. The theme is the house as a repository of memory, as well as a metaphor for the self. These “Rag House” paintings explore the tension between the personal struggles everyone experiences (in and out of the family circle), and the animated, individual spirit, represented by the light and color patterns, that shines through each one.
These “Rag” paintings grew out of my intense need to make personal images that would help me map out where I was on “the path”, because without a pictorial reflection, I am lost in the woods without a guide. Like this, the earlier series entitled Existential Vaudeville demanded to be made because the transition from young man to an incipient middle-aged dad was shaking my personal foundations. I needed to see what it felt like to be caught in this sea change of life. These paintings, with ouramerican family aloft, brought some peace and sanity to my sense of who I was, what I was struggling with and what the nature of my commitment was to having married Elizabeth and bringing children into the world. The ambiguity in whether the figures in this series are actually flying or falling is an expression of an obvious, complex truth that I will never shake. The fact that the story of Icarus is the first myth I’ve chosen to retell mirrors this basic dream trope I am mesmerized by and that we all share.
Robert Calasso writes in his book Cadmus and Harmony:
“We enter the mythical when we enter the realm of risk, and myth is the enchantment we generate in ourselves at such moments.”
The Icarus Unbound paintings rewrite the Greek myth of Icarus with much the same emphasis on one’s ability to transform experience in positive ways. I believe that we have the power to rewrite the trajectory of our stories should we be willing to do the work to understand what scares, inhibits and motivates us. As a sentient, thinking species, we are restlessly circumspect
and, as much as we are given to loll in luxuries where we find them, we are always looking to extend what we can do and understand. Icarus needed that second chance and tales are made to be retold and narratives morph to the times- who has the last say on anything?
This need to locate oneself in a story is universal. Our impulse to make associative connections between our experiences and culturally significant narratives is at the heart of the artistic act. Painting for me is the opposite of disassociation, of turning away and shutting down- it is connecting with my deepest fears and aspirations as a single, imaginative human being, part of a great collective. The question my paintings keep asking me is: “Am I flying or falling?” I think both.
March/ April
Grey Ivor Morris
Grey Ivor Morris is a multi-disciplinary fine artist: He has worked in mixed-media, epoxy resin,
mosaic, sculpture, colored pencil, alcohol inks and photography. The subject often determines
the medium. He draws inspiration from the fascinating variety of modern psychological human
experience as well as the beauty and terror of the natural world.
Recent forays into the medium of collage have opened up the unexplored worlds of the
subconscious. The process of creating and refining these assemblages of found images have
tapped into the deepest reserves of the subliminal multiverses of the human condition.
Unforeseen combinations/juxtapositions yield powerful images that draw the viewer into a
surreal dreamworlds that rival our waking life. Much like the story of The Illustrated Man, these
collages are truly snapshots from a parallel universe, brought to life.
Shaune McCarthy
My paintings are a consequence of experimentation, spontaneity, imagination, play and of course, hard work. I practice nearly every day. Each painting has its own story to tell so I don’t stick with one idea very long. There are three words I consider as I ponder direction. Energy, vibration and frequency.
Shaune McCarthy is a full time studio artist working in SE New Hampshire. Her ceramic figures and contemporary acrylic paintings are held in many collections in New England and beyond. Her paintings will be showcased this summer at the Barn Gallery in Ogunquit, Maine. She is excited to be included at Green Kill Gallery in March and April.
Website- shaunemccarthy.com
Facebook- Shaune McCarthy Art
Margaret Still
The strangeness and beauty of what appears ordinary, and the nobility and living presence of objects in space are what fascinate me as a painter. I mostly use my own photographs, and sometimes found images as a starting point for my paintings. Then I find what is essential, pungent and iconic in each, and use that to guide me.
Artist Bio
Margaret G. Still is a painter and photographer. She received her B.A. and M.F.A. from U.C.L.A., studying with William Brice, Richard Diebenkorn, Gordon Nunes, Elliot Elgart, and others. She grew up in Manila, Philippines, and has lived in Hong Kong, Los Angeles, New York City, Memphis, and Saugerties, New York.
She has exhibited locally at Greenkill in Kingston, New York; Green at 92 Partitions Street, Saugerties, New York; WAAM (Woodstock Artists Association & Museum) in Woodstock, New York, and at Emerge Gallery in Saugerties, New York.
She received the Mary Wilson Award from WAAM in 2022. The July/August 2019 issue of Fine Art Connoisseur Magazine covers her artwork in “Margaret G. Still: Pictures From The Road” by Peter Trippi.
Her Instagram account is “mgstill4” and her Facebook account is “Margaret G Still Art”. Artwork from the last few years is on her Blogspot account: https://www.blogger.com/profile/13989453666549072451?fbclid=IwAR1b_xtYl68FDyfxGzen2KdZYUFSMZmbFwKzJk0w8AnQT5vLWLXBaGLwlkM
May/June
Richard Kroehling Solo Exhibition
GREENKILL -- TITLE OF SHOW:
Tree at the Center of The World
The Empire Falls
The Closest Thing We Can Come To a Zen Koan In America Is a Bad Joke
Not a Goofball Happiness But a Thick Awareness of Beauty
STATEMENT:
I am a multifaceted artist, filmmaker, painter and poet interested in transcending existing forms across artistic disciplines including painting, video art, projection installation, found art and photography.
My work draws on themes like the fall of the American empire and the invisible violence of the elite's dominance on the collective mind. We live in a world inundated by an imagery riot. We are left with spectacles staggering millions of “selfies”, surveillance videos, 20-second self-promotion I phone clips, AI created imagery, streaming mass murder shootings and sweet cat moments. The image tsunami is crashing over us with a new reality all its own. We have made this feverish image-world and now it is re-making us in ways that are not yet clear. I look for moments of ironic beauty even as America falls into chaos and catastrophe; to find even a moment of divine order and the possibility of grace.
- Richard Kroehling
July/August
Brett De Palma Curated Exhibition.
To be announced.
September/October
Gary Mayer Solo Exhibition
The show will contain works focusing on the cult or myth of Dionysus . Full of symbols and ecstatic experience reflected in the paintings and plaster reliefs that will be on exhibit.
Gary Mayer is from Detroit, Michigan. He studied art at Wayne Sate University in Detroit and became influenced by a group of artists called the Cass Corridor School, named after the area where they lived and worked.
“I made a lot of large expressive work which was included in many shows at the Willis Gallery and at Feigenson Gallery which represented many of the Cass Corridor artists I mentioned. My first solo show there, Saints, featured work in a very expressive but also irreverent manner like “Saint Sebastian”. Some of this work consisted of very large collages of 8 x 12 feet.”
Gary moved to NYC in 1982. During that time he had numerous solo and group shows. He has shown his work at museums such as The Bronx Museum of the Arts and the Everson Museum in Syracuse, NY. He had a two person show at the now defunct Exit Art Gallery in NYC which was reviewed in Art in America. He received his MFA from the Maryland Institute School of Art where he was a graduate assistant to the renowned Abstract Expressionist painter, Grace Hartigan.
In 2004, after spending over 20 years in NYC and Brooklyn, Gary moved to the Catskills. In the last decade he has shown his work widely in the area and helped form the GreenKill art space in Kingston. He is currently a member of the Longyear Gallery in Margaretville, NY.
“My work has always fluctuated between abstraction and figuration. I find that one feeds and sharpens the other and they both share an intensity and painterliness.”
November/December
Sam Truitt
Dicte: A Triptych, 2013/ 2019 [remastered]. [Running time 1:46.42]
Sam Truitt’s Dicte was made from a year-long, daily interaction with 144-word blocks of a sequential, thematically loose-jointed text, translating those word-sets—sentences, stage directions and Morse Code (cipher)— into sounds, music, speech, recordings, symbols, images, photos, films and movies as whatever seemed to magnetize to what that day the words said (with some themes seeming to carry for some days as experience dictated) downloaded fromthe internet. Edited, recombined, spliced, diced (at times to the fabled 0.08 of a second) and overlaid with text, each day from 23. Nov. 2012 to 23. Nov. 13, a block (144 words) was returned onto the internet (youtube). (To note, the measure of 144 words was derived from the division of a text of 52,560 words by 365 days. The original transmissions totalled 6 hours and 22-minutes in length. The last transmission (365/365) was blocked and removed by youtube censors.) So while Dicte is a work of environmental art—made of sound/music, words/speech and moving/still images within an equidistant triangle of screen/sonic fields (and what unknown recombination may occur between them)—it is also a work of process art, which is the way in which Truitt would hope you may experience this piece (with more on that later).
Dicte: A Triptych’s text is Dick: A Vertical Elegy (2013, Lunar Chandelier), a prose poem about JFK’s assassination, including the name of one of its plotters. That information, protected through a number of layers of cipher, is transmitted through the Morse Code passages, the seemingly undifferentiated plane of which is broken up with stage directions from Shakespeare’s tragedies.
Dicte: A Triptych to that extent is a cryptogram, containing information of inherent value burrowed within layers of code. At the same time it’s an extravaganza of sound and light and images in a dizzying array of paranoia, innuendo, puzzles, excursions and possibility. Dicte: A Triptych has been screened in the performance space of the La Sala Cantina in Williamsburg, NY on Nov. 23, 2013; and at Bard College in Annandale on Hudson, New York in 2014.
Here is Truitt at Counterpath, Denver, Colorado, April 2014, delivering an oblique breakdown of Dicte, its origins in “Transverse” and beyond.
Born in Washington, DC, and raised there and in Tokyo, Japan, Sam Truitt is the president of the non-profit Institute for Publishing Arts and the director of Station Hill Press. An award-winning poet in print, performance and digital arts, he is also a teacher, curator, festival-organizer, radio-show host and volunteer ambulance driver. Dicte: A Triptych has been screened in the La Sala Cantina performance space in Williamsburg, NY (Nov. 2013); and at Bard College in Annandale-on-Hudson, New York (Dec. 2014). He lives in Woodstock. For more visit: https://samtsong.com/about
Kim J. Truitt
Kim J. Truitt was born in Dallas, Texas and raised in Tampa, Florida and Atlanta, Georgia. She graduated with an MFA from Hunter College in 2003 and currently lives in Woodstock, New York, where teaches yoga.