Tag: Margaret Morrison

September 12, 2015



September 12 – October 24, 2015
Woodward Gallery

This survey will recall past trends, exhibition themes and current inspirations by the Artists Woodward Gallery has featured throughout its decades long history. These Artists have all been exhibited at some time since 1994 reflecting the variety of the Gallery’s collection:


Peter Apelgren,

Jean Michel Basquiat,

Susan Breen,

Michael Brodeur,

El Celso,

Deborah Claxton,

Gregory Corn,

Alan D’Arcangelo,

Darkcloud,

Natalie Edgar,

Marisol Escobar,

Fab 5 Freddy,

Paul Gauguin,

Red Grooms,

Tom Hall,

Richard Hambleton,

Keith Haring,

Sarah Hauser,

Hiro Ichikawa,

Robert Indiana,

Jasper Johns,

Donald Judd,

Janice Johnson,

Franz Kline,

LAII,

Roy Lichtenstein,

Mark Mastroianni,

Knox Martin,

Moody,

Margaret Morrison,

Robbin Murphy,

Kenji Nakayama,

Neckface,

Terence Netter,

Don Nice,

Francis Picabia,

Jaggu Prasad,

Ad Reinhardt,

Drew Roth,

David Salle,

Matt Siren,

Frank Stella,

stikman,

Ellinor Ströström,

Philip Taaffe,

Francesco Tumbiolo,

Andy Warhol,

Charles Yoder,

“Charting Ground Zero”

March 14, 2015


Susan Breen & Margaret Morrison
March 14 – May 9, 2015
Woodward Gallery

Woodward Gallery features Susan Breen and Margaret Morrison in a two-person exhibition heralding Spring. This season, the Artists travel to a location beyond their traditional roads of art. Both Ways connects different aesthetics by traversing varied terrain intimate and expansive, natural and concrete.


Taken collectively, Susan Breen’s paintings represent a dynamic natural world in flux, in various states of growth, transformation, and at times, decline. Rooted in imagery that alludes to the physical world, these paintings are a seeming departure from earlier more abstract and atmospheric works. Yet, they aspire to a similar celestial space from a different and comparatively grounded vantage point.


Breen’s natural forms float, turn, bloom, grow, and overgrow. Vines twist and flourish, alluding to some universal circuitry. Systems begin to fill up and spill over, hinting at entropy. Trees reach to the sky, flowers cluster and converge. In all of these, Breen manages order yielding in some way to a changing world within each frame, one filled with both darkness and light.


Margaret Morrison departs from her still-lifes to share the zen of driving. She is inexorably drawn to a point on the horizon…. a point beyond her sightline, “where I can crawl inside my head and look around, unpack my thoughts, and unload my baggage.”


That point on the horizon always hovering just out of reach perpetually draws Morrison toward a half hidden moment full of promise where reality and time detach themselves from consciousness, thus allowing the Artist to settle back and clear her mind. Morrison shares, “I love long distance driving. I love the romance of the landscape hurtling past me, the road stretching out for hundreds of miles as I speed along toward an undetermined destination. Nothing is as metaphysically liberating.” Morrison’s highways are a vacation for the mind, body and soul.


Together Breen and Morrison come from their notable pasts invigorated by their new direction. Woodward Gallery is the rest stop where these new small-scale, impressive bodies of work are joined.

 


Exhibition Press:
Widewalls
ArtFuse Magazine
Juxtapoz Magazine
Wall Street International
Mother-Musing
University of Georgia
The Vander Lust

January 10, 2015



January 10 – February 28, 2015
Woodward Gallery


Woodward Gallery boldly unites a group of twenty living artists working in different styles ranging from figurative to street, surreal to abstract. The exhibition is a cross sample of art Woodward exhibits highlighting the range of the Contemporary market.


Richard Hambleton’s 1983 Dancing Shadowman sets the mood. Sabina Forbes II sets the table from a retro 50’s inspired still life into a colorful contemporary feast. Gabriel Specter takes over the gallery entrance with an exciting, aesthetic sculptural installation. Deborah Claxton stuns by assembling thousands of hand cut paper pieces to create a photographic image.


The featured artists are: Rick Begneaud, Susan Breen, Thomas Buildmore, Cycle, Deborah Claxton, Darkcloud, Natalie Edgar, Sabina Forbes II, Richard Hambleton, Hiro Ichikawa, JMR, Mark Mastroianni, Moody, Margaret Morrison, Kenji Nakayama, Terence Netter, Gabriel Specter, Jeremy Szopinski, stikman, and Jo Ellen Van Ouwerkerk.

 


Exhibition Press:
Widewalls
Wall Street International
The Villager

May 3, 2014

Butterflies and Blossoms
May 3 – June 22, 2014
Friends of the Rockefeller State Park Preserve
125 Phelps Way, Pleasantville, NY

The Art Gallery at the Rockefeller State Park Preserve, in collaboration with the Valerie Goodman Gallery, has the privilege of presenting a unique exhibition, Butterflies and Blossoms, combining Korean artist Yun-Mo Ahn’s** travelled exhibition of images created by persons challenged by autism, with paintings by established artists Margaret Morrison*, Ivan Pazlamatchev, and the French artist Jacques Jarrige*, all who share a respect for the creativity of people outside the mainstream. As visual communicators, the artists hope to demonstrate that art can help to overcome the obstacles of autism and mental illness. Curated by Audrey Leeds and Valerie Goodman.


The exhibition will be on view May 3-June 22, 2014, daily hours (9:30-4:30 p.m.) The Friends of the Rockefeller State Park Preserve will include the exhibit at an annual benefit on May 16th, celebrating the blooming of the Preserve’s historic Peony Garden. The “Artists’ Open House” will be held on May 17th, 1-4 p.m.


Dramatic floral portraits by Margaret Morrison are complemented by Pazlamatchev’s delicate butterfly art and Yun-Mo Ahn’s naïve paintings and sculptures that embrace the theme. Throughout the installation, a profusion of Butterfly images are displayed, having been created with the guidance of Ahn who has shared his artistic expertise by nurturing the children’s uninhibited creative energies while attending tutorials made possible by the McCarton School and Foundation, educational divisions of the Museum of Modern Art, the Queens’ Museum and local schools within the tri-state of New York. A “Become a Butterfly” program developed in Korea, and in France by artist Jarigge, has now been adopted in New York. Henceforth, Butterfly collections will embark upon world-wide travel sending messages of collective hope and awareness to the psychology of healing through the “Butterfly Effect” of visual expression.


The exhibition is made possible by the Rockefeller State Park Preserve, the Woodward Gallery, the Valerie Goodman Gallery and the McCarton Foundation.


The Gallery is located at 125 Phelps Way (Route117), Pleasantville, New York 10570. It is open daily from 9:00 a.m. – 4:30 p.m. The preserve is one of 15 state parks, administered by New York State Office of Park, Recreation and Historic Preservation.


For more information and to support Friends of the Rockefeller State Park Preserve visit friendsrock.org

January 4, 2014

Group Show
January 4 – February 22, 2014
Woodward Gallery

Woodward Gallery launches their 20TH Anniversary Year with the group exhibition Sur-Real.
The exhibition title emphasizes each part of the word surreal to give us pause to search for the fantasy in each featured artist’s imagination. With broad strokes or subtle detail, new visions for what seem possible are evoked.


The individual artists step outside of the fundamental world of life and enter another dimension of the creative process. They work in fine contemporary painting, street art backgrounds, paper collage and screenprinting techniques, yet release the creative potential of their unconscious mind. Their work liberates our existence with insight into a new artistic reality.


The selected Artists: Jean-Michel Basquiat, Thomas Buildmore, Deborah Claxton, Sybil Gibson, Richard Hambleton, Kosbe, David Larson, Mark Mastroianni, Margaret Morrison, NoseGo, Kenji Nakayama, Dennis Oppenheim, Robert Rauschenberg, James Rosenquist, stikman, Jeremy Szopinski, Francesco Tumbiolo, Jo Ellen Van Ouwerkerk, Cristina Vergano, Kurt Vonnegut Jr. and Andy Warhol are an influential force reinterpreting our conventional thoughts and expressions.

November 3, 2012

Child’s Play
November 3 – December 22, 2012
Woodward Gallery

Artist Margaret Morrison loves considering life from a child’s point of view. Life becomes mysterious and magical all over again. In “Child’s Play,” Morrison relives her world of imagination with giant robots, enormous pull toys, life size dolls, and Fisher Price people. She observes from a naive perspective yet tantalizes the grown- ups with an undertone both scary and delightful at once.


Morrison’s witty new body of work is the second in her series of larger-than-life oil paintings. When we last experienced Morrison’s realistically haunting images, candy and confections exploded in enormous proportions with exquisite color like cadmium red. Her next investigation in the progression is based on toys. Bold color and drama fabulously intermingle with live action as Morrison’s Barbie dolls are caught in an intimate moment, Fisher Price wooden people ascend a ladder to a rolling Trojan Horse, or a rotary phone seemingly moves with menacing eyes.


Morrison’s current paintings emphasize the artist’s particular ability to evoke a story from a single still life. We are treated to familiar images we had enjoyed as children. Their presence is huge in perspective and provocative as they once dominated our imagination when we were small. Morrison’s characters now are set in their own play while we, as the eager participant, enter the game anew cast with adult experience. This not-to-be-missed exhibit has Margaret Morrison amusing our senses, emotions and memories. She provides the revitalizing spark our imagination needs today to dance and sing unabashedly once more.


Exhibition Features
Little Collector
Examiner.com
TrendHunter.com

November 4, 2011



Flowers
Fall 2011
The Four Seasons Restaurant
99 East 52nd Street, NYC

Iris, 2008
Oil on canvas
Canvas: 48 x 54 in; 121.9 x 137.2 cm
Framed: 49 x 55 in; 124.5 x 139.7 cm


Peony, 2011
Oil on canvas
Canvas: 48 x 54 in; 121.9 x 137.2 cm
Framed: 49 x 55 in; 124.5 x 139.7 cm


Rose, 2008
Oil on canvas
Canvas: 48 x 54 in; 121.9 x 137.2 cm
Framed: 49 x 55 in; 124.5 x 139.7 cm


Lily, 2008
Oil on canvas
Canvas: 48 x 54 in; 121.9 x 137.2 cm
Framed: 49 x 55 in; 124.5 x 139.7 cm

March 7, 2009

Larger than Life
March 7 – May 9, 2009
Woodward Gallery

Like high fructose versions of Proust’s madeleines, Margaret Morrison’s sweet treats send our mind skipping back in time – specifically, back to childhood. When we were small, the kind of sugary goodies she paints loomed large, were prized and frequently forbidden; for after all, the injunction to “eat your vegetables,” did not include candy corn, except of course on that one anarchic day each year when children rule: Halloween. More often than not, Morrison’s imagery doesn’t evoke last Halloween, but rather trick-or-treating long ago. Some of the confections that she paints are hardy perennials: Hostess cream-filled cupcakes and cellophane-wrapped Christmas peppermints. Others, like the crimson trio depicted in Wax Lips, lounged in the limelight decades ago, before the noun “collagen” entered the popular lexicon. Now they’re artifacts from a bygone era.

There is something both sweet and scary about the artist’s two-foot square Gummy Worms. Their overgrown size, and the fact that their ridged, serpentine forms overfill the frame, makes these chewy, tubular creatures look like extras out of Dune. One of them arches across the immediate foreground. Its head inclines downwards, as if to ponder the luminous, lime-colored shadow that pools beneath it. The inquisitive critter, which resembles Narcissus transfixed by his own reflection, would look equally at home in a candy store, a Pixar flick, or curled alongside one of Odilon Redon’s gentle, tremulous monsters.

Morrison’s jewel-like color — emerald, ruby, topaz – suggests that her motif is rare and precious. Witness her two gargantuan Ring Pops, and a quartet of gummy bears that resemble glowing, pre-Columbian statues. The thrust and swirls in Lollipops, reveals that still lifes may be far from still, but very much alive.

Candy is dandy, but flowers have powers. Morrison’s lovingly painted, solitary rubrum lily measures four and a half feet from petal to petal. Writ this large, we find ourselves “in the beauty of the lily,” to borrow a haunting phrase from The Battle Hymn of the Republic. Here we behold the blossoming world from the viewpoint of a bee diving though pale, silken petals into a realm of graceful green stamens and ovoid anthers dusted with dark red pollen. Life is sweet! Life is rich!

— Gerard Haggerty

Gerard Haggerty writes for ARTnews and teaches at Brooklyn College, City University of New York. His work has won multiple grants from the National Endowment for the Arts, the National Endowment for the Humanities, and the Ford Foundation.
Exhibition Features

November 14, 2006



Group Show
November 14, 2006 – January 6, 2007
Woodward Gallery

Woodward Gallery is honored to represent their group of twelve in the exhibition, Gallery Artists ‘06 -’07.


Since 1994, Woodward Gallery has deeply appreciated these individual creative forces of art that affirm beauty and excellence.


Artists: Susan Breen, Deborah Claxton, Richard Hambleton, Sarah Hauser, Hiro Ichikawa, Mark Mastroianni, Margaret Morrison, Terence Netter, Jo Ellen Van Ouwerkerk, Louise Peabody, Cristina Vergano and Charles Yoder will be together for one, final exhibition at Woodward Gallery’s present New York location.


Anticipating a move from their SoHo home of thirteen years, Woodward Gallery will feature signature new work to emphasize the future direction the gallery artists will continue to blaze in New York. The original contemporary artwork by these Acclaimed Artists will offer variety from abstract to urban to figurative on paper and on canvas.

November 3, 2005

Margaret Morrison
Patron Saints and Rituals
November 3 – December 30, 2005
Woodward Gallery

By the time painter Margaret Morrison started high school, she had visited almost all of the world’s great museums. Based in the Philippines, her family made a point of introducing her to art on their travels throughout Europe and Asia. “I felt as if my head had been opened up,” she says, “and all this amazing visual information had been poured in. I loved all of it but was particularly fascinated with pagan and early Christian iconography, reveling in the imagery and symbolism.”


In this breakthrough exhibition, Morrison, Professor of Art at the University of Georgia, shows just how greatly those rich, early encounters and her subsequent immersion in art history have affected her. Each one of these profound paintings invites the viewer into a mysterious and complex world where ancient rituals, religious symbolism and contemporary concerns intermingle. “I cast old symbols,” she says, “in contemporary language.”


She places her models, often family and friends, in historical situations that underline the universality of human experience. Brilliant technically, she as convincingly portrays expressions of confusion and love as she depicts a raging fire, a gun battle or the graceful purity of a lily.


Though called “Saint Lucy,” Morrison’s riveting portrait of a pretty, green-haired young woman in a sexy black evening dress hardly seems to be saintly. Looking askance, her subject appears quizzical and defiant. “I put her in gothic attire,” Morrison says, “to go along with the Mardi Gras theme. She holds a feathered mask with eyes because St. Lucy was martyred by having her eyes gouged out, for staying true to her religion.”


Like all her saints, Morrison’s Saint Lucy displays a striking individuality, less representative of a virtue than of a psychological state of being. “They are my personal saints,” she explains, “my own patron saints.” She clearly empathizes with these men and women, who struggle for life in the powerful “Saint George and the Dragon,” cherish a small bird in the tender “Veneration of Saint Barbara,” and look for direction as the man does in “Gabriel the Archangel”.


Taking as inspiration a pagan or Biblical story, Morrison then lets her imagination run rampant, finding connections between our own struggles with those of our mythical and religious ancestors. It is for this reason that almost all the paintings in her show seem to exist in a timeless zone where archetypal characters have gathered to act out their most private emotions.


In many works, Morrison’s palette consists of soft grays, browns, blues and greens and the overall atmosphere is dark. Though in the exuberant “Saint Cecilia,” who is the patron saint of music, the voluptuous heroine, silver bodied and blowing on a giant brass sousaphone (named after the march composer), marches across a desert under a cloud-filled blue sky, as bursting with light as the painting “Mary Magdalene” is full of dark foreboding. She does not see her subject as a fallen woman, as she is often cast by the Roman Catholic church, but as a brave spirit who prepared Christ’s body for burial. Proud and sensual in a blue dress, Mary Magdalene stares out from the canvas, asking to be judged on her own terms.


Morrison uses the triptych to reveal different aspects of the same theme, for instance, in“Finger of God”, the lightning in the center symbolizes an angry god, while to the left and right, lilies and a vessel, represent purity and the Holy Spirit, respectively. Then sometimes, as in “Saint George and the Dragon,” under the large part of the panel where she painted two figures locked in combat, she added a scene of firefighters facing blazing buildings, in their own way, locked in combat.


While knowing Morrison’s references adds to an appreciation of her stunning paintings, it is by no means a requirement to being swept up in their dramatic intensity. Dense, deeply felt, intriguing and masterfully painted, they draw in a viewer in part because of the honesty one feels in their creation.


As a young student a professor told her that she had to choose between being a wife and mother and a career as an artist. How wrong he was. “If I had not been able to tap into the emotion of being a mother,” Morrison says, “I could not have painted this way. I could not have reached this level of the sublime. I continually draw from the well of my love for my family. Without them I would have gone dry.”


-Valerie Gladstone, Contributing Writer for The New York Times and ArtNews magazine