Showing posts with label Rehoboth Art League. Show all posts
Showing posts with label Rehoboth Art League. Show all posts

Friday, March 15, 2019

Rehoboth Art League Hosts 23rd Young at Art Exhibition

This post content comes from a Rehoboth Art League press release...

On Saturday March 16, 2019 the Rehoboth Art League (RAL) will host the works of over 250 young artists. Students from 25 public and private schools in Sussex County will gather for the opening of the 23rd Annual Young at Art exhibit on the historic Henlopen Acres campus of the Art League. This year’s exhibit will be on view in the Corkran and Tubbs Galleries from March 16 through March 31, with an opening reception on Saturday, March 16 from 10:00am-2:00pm, with award presentations at 11:00am.

The exhibition will feature teacher-selected artwork created by students in elementary, middle and high schools in Sussex County. Each art teacher has selected the best student works to represent the school, which will be judged with ribbons, cash awards, and scholarships. In addition to a Best in Show Award and Awards of Excellence Prizes for elementary, middle, and high school students, two promising students will receive Pre-College Scholarships to the Delaware College of Art and Design. Furthermore, six promising young middle school artists will receive a Picasso O’Keeffe Scholarship to be used towards art supplies or classes.

This event is free and open to the public. Also, on display in the Step-Up Gallery is our Members’ Sales Exhibition, showcasing an eclectic collection of fine art and crafts by RAL Member Artists.

This exhibition is being underwritten by PNC Bank and is sponsored by the Village Improvement Association, The Howard Pyle Studio Group, and Old World Breads. 

Monday, October 3, 2016

A Review of Rehoboth Art League's 7th Juried Exhibition

By Guest Blogger, Stan Divorski 
Stan Divorski is an artist and avid art and photography collector who lives in Lewes, Delaware. He has a PhD in Psychology from Northwestern University, a Certificate in Painting and Drawing from the Corcoran College of Art and Design in Washington DC and has studied modern art curating at the Chelsea College of Arts in London.
Kyle Hackett "Forward Restraint"

The Rehoboth Art League’s 7th Regional Juried Biennial Exhibition is a significant step in the League’s continuing evolution to a regional art force. The work is bold, resolutely modern and abstract.

The juror, George Ciscle, focused on the unique and mastery of technique. His emphasis on craft is part of what makes the exhibit current. After decades of the art world emphasizing concept over technique, the quality of execution is increasingly valued. Kyle Hackett’s oil painting “Forward Restraint” was chosen as Best in Show partly because it stood out from the crowd of portraits and partly because of the artist’s command of his medium. In his detached view of the subject, Hackett distresses part of the sitter’s face and leaves part of the background apparently unfinished, reminding us that this is his interpretation of the subject, not a copy of reality. 

Brook Hedge’s “Still Standing,” a deeply emotional photograph of a gradually subsiding barn garnered an Award of Excellence. Achieving her effects “in camera” rather than through post-processing in Photoshop, she demonstrates mastery of her medium. Harold Ross’ “Still Life with Pencil Sharpener and Steel Ball” initially appears to be an example of the “Photorealism” paintings of the 1960s and 70s. In fact, it is a meticulously crafted digital photographic print comprising 30-plus layers of imagery. It bears greater relationship to the Dutch Masters than to photorealism.

Amani Lewis "The Conversation"
“Relevance,” the relationship of art to social issues, is increasingly part of the art world’s language. Amani Lewis’ “The Conversation” examines the current status of African Americans. The central figures in her creation appear to be involved in a calm exchange, but are superimposed over images of angry protest. Protesters can be seen through the figures themselves, illustrating how social upheaval penetrates individual existence. Digitally cut and pasted images printed on canvas worked over with paint evoke the screen printed posters of 20th Century protest movements. 


George Thompson’s painting “Sometimes ‘IT’ Percolates uphill” depicts the permanent and reflexive damage to the earth of individual acts of pollution. He has chosen a jewel-tone palette rather than the “earthier” palette expected. It is up to the audience to decide whether this choice works against the artist’s intent or leads to closer exploration. George J.E. Sakkal’s photo collage “Climate Change: Earth at the Beginning of the End” depicts the detritus of western existence in a small, densely packed image that invites the viewer to practically stick their nose into the swirling mess.

Some current perspectives in contemporary art are not evident here. On display is what
Sondra Arkin "Shadow Drawing"
some would dismissively refer to as “wall art.” Missing are “installations” which become part of or transform the gallery space. The closest examples are Sondra Arkin’s Award of Excellence winning “Shadow Drawing,” and Jihyun Vania Oh’s “Trace My Memory.” Ms. Arkin’s wall-mounted wire sculpture is a delicate spiderweb of geometric forms that creates a shadow drawing on the gallery wall. Ms. Oh’s sculpture of leather, paper and other materials -- resembling a post-apocalyptic gas mask -- snakes up a corner of the gallery, stepping from wall to wall. Her ‘s is the only piece that seeks to directly engage the audience by encouraging viewer interaction. Below the work is a small sign that invites the viewer to “Open me.” Pulling a small metal ring opens a trap door, revealing a pop-up that transformed my understanding of the work.

Missing in their entirety from the exhibition are examples of video and performance art.

It is estimated that there are more than 2.5 million professional artists in the US -- nearly 1% of the population. Taking into consideration the additional number of amateur artists, it is easy to understand the challenge for artists to have their work seen and sold. George Ciscle’s curation demonstrates the value of artists who analyze what has gone before, both in terms of technique and theory, and seek that unique variation that lifts one’s work above the fray. The exhibit is among the best that I have seen at the RAL, but still leaves room to grow.

See www.rehobothartleague.org.

Thursday, January 28, 2016

The Coastal Camera Club: A Juried Exhibition

By Guest Blogger, Stan Divorski Stan Divorski is an artist and avid art and photography collector who lives in Lewes, Delaware. He has a PhD in Psychology from Northwestern University, a Certificate in Painting and Drawing from the Corcoran College of Art and Design in Washington DC and has studied modern art curating at the Chelsea College of Arts in London.

All art or photography lovers must see this joint exhibition of the Rehoboth Art League and the Coastal Camera Club
, showing the work of photographers who are members in both organizations.
The artists display a creative — and at times playful — willingness to explore what the medium has to offer. Each artist shows a willingness to experiment with ground, presentation, image manipulation and staging to create uniquely effective images. The curators, Jay Pastore and Lee Mills, are to be congratulated for putting together a captivating demonstration of this diversity.

A few examples from this abundance of worthy images are in order. Dick Snyder’s “Florentine Ceiling” sets the tone by challenging the viewer to make sense of his black and white abstraction of a cathedral ceiling. Dizzying perspective, rich pattern, narrow tonal range and frameless canvas support simultaneously suggest M.C. Escher, a medieval tapestry and a Southeast Asia temple wall painting. 

Linda Rosenbluth’s “Out on the Town” at first appears to be an art deco poster of the 1930s, due to saturated neutral colors, rectilinear composition and flat light. Closer examination confirms a photo of a modern urban scene. 

Robin Harrison’s “At Rest” depicts a flamingo without the curved neck and stick legs that dominate most images of the bird. Harrison has selected a pose that abstracts the essence of the bird, highlighting its shyness and the textural richness and subtle color variation of its plumage. 

"Reflection" by Brooke Hedge
Brooke Hedge’s “Reflection” exemplifies how to capture mystery with only minimal editing of a photograph. Traditionally framed and matted, this black and white view of a young woman’s sun dappled reflection could well have been titled “Narcissus” after Ovid’s boy of that name. Its subject is Pre-Raphaelite, and its texture is that of Monet’s brush strokes. The image symbolizes innocent purity, the fleeting nature of beauty and the uncertainty of perception. 

Adjacent to Hedge’s work, Leslie Sinclair’s “Woodland Tea Party” takes a less purist approach. The frameless, aluminum mounted image of a tea table in a forest is a light painting (composed of multiple individually lit layers combined to form the final image). Reminiscent of Gregory Crewdson’s large scale, staged cinematic tableau, this smaller work is carefully arranged, conjuring Alice in Wonderland as interpreted by David Lynch.

If this exhibit is representative, The Coastal Camera Club may be more than a club, but rather the beginnings of a school of photography with a vision unique to the Delaware shore.

The Rehoboth Art League, with 1800 members, is Sussex County's first organized cultural arts center. Located on a historic plantation, it encourages artists and arts education and sponsors exhibits and programs.

The Coastal Camera Club, with more than 200 members, serves the Delaware seashore. It encourages and promotes interest in all phases of photography, encourages education in photography, holds contests and presents awards, and promotes the photographic efforts of its membership. 

Wednesday, August 17, 2011

Rehoboth Rocks Local Art Scene


The 73rd Annual Members Fine Art Exhibition in the Corkran and Tubbs Galleries of the Rehoboth Art League is remarkable for two reasons: one, that the Rehoboth Art League could have so many members with so much talent and two that the galleries are in such a beautiful setting.


I biked down Columbia Avenue and enjoyed a leafy canopy and wide shady streets leading to Dodds Lane and the incredible gardens surrounding the League. The Homestead Gallery is smaller, but in a beautiful old house so you feel as if you are in someone’s home that is filled with wonderful pottery and art.


Here I noticed in particular the pale greens of Gail Neiburg’s and Nettie Green’s ceramic plates, the bold acrylic of Tehrir Square by Alan Keffer, the oil of Atlantic City in the Morning by Jarrod Ranney as outstanding. But when I arrived at the Corkran and Tubbs Galleries, the work truly began to overwhelm me.


Ken Kusterer, who moved to Lewes in 2006, has a big city edginess in his portrayal of an endless group of black men in bright orange prison jumpsuits entitled Used to be slavery was oppression enough. He also had a portrait of Benito Juarez with an inscription in the picture. Bill Snow’s oil of a Fall Storm on Federal Street in Milton showed the purply grey sky of a storm, the shine in the street giving off the reflection of the buildings and car whose headlights pierced through the foggy aftermath of the heavy storm.


There are also many small pieces and crafts that are quite tempting, including notecards with Lewes Eateries by Kathy Buschi of Magnolia as well as mirrors and other small items. This exhibit is open until August 26, but it seems the Rehoboth Art League is a powerful force that will be with us for some time to come.


See www.rehobothartleague.org