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Rick Shaefer: The Refugee Today

September 28, 2017 - Haggerty Museum of Art

The Refugee Trilogy is a suite of large-scale charcoal drawings by Connecticut-based artist Rick Shaefer. The works employ the visual language of Baroque painting to express–in a language both familiar and historical–the plight of contemporary refugees, and the persistence of this epic human tragedy across time. The three triptychs, each measuring 96" x 165", are exhibited in a chronology suggested by news reports. Land Crossing, the first of the three, addresses the hazardous journeys faced by refugees fleeing war, famine, drought, or other causes. The second work, Water Crossing, portrays the perilous journeys across open water. The third work, Border Crossing, addresses the conflicts and hostilities faced at borders. In addition to the three triptychs, the exhibition includes seventeen preparatory drawings. In an interpretive space adjacent to the exhibition, visitors may watch short video interviews with Marquette University faculty members–from areas ranging from law to nursing to history–who work on the subject of refugees. Rick Shaefer: The Refugee Trilogy was organized by the Fairfield University Art Museum

Maysey Craddock 'Riverine'

September 14, 2017 - Wall Street International

Maysey Craddock's 'Riverine’ at Sears Peyton Gallery, New York

August 17, 2017 - Blouin ArtInfo

Sears Peyton Gallery will be hosting Maysey Craddock’s “Riverine,” a solo exhibition by Maysey Craddock at the gallery’s venue at New York. This will be the artist’s fourth solo exhibition in New York.

While the politicians debate over border issues and discuss the vices and virtues of securing the national borders, Craddock focuses on the fragility of the natural boundaries present around us. The works in this exhibition explore the natural boundaries such as the wild natural shores that divide the land and the sea, the rivers, deltas, the coastlines that are continuously shaped and reshaped by the sea, storm, and mankind. In each of her works, she traces trees, ragged alluvial trailings with delicate strokes on pieced paper surfaces that are stitched together with silk threads. Craddock portrays these natural borders as radically provisional and delicate spaces that are alive with continuous adaptation and regeneration. According to the artist, men perceive land as solid and immutable with heavy and dense edges and borders. However, what they fail to realize is that it changes drastically, especially the coastlines that are vulnerable to change. Craddock’s creative processes rhyme with the idea of making and unmaking her work. She takes photographs of the riverbanks and shorelines before fracturing the photos into abstracted motifs that she adopts into her paintings. 

Wall. Flower.

June 29, 2017 - Make Magazine UK

‘I have always been fascinated by colour. I need it around me and on me’.

Patricia Iglesias. Artist. New York City.

‘There were several things that motivated this last body of work, but two of them were the death of a close friend and the other was the birth of a baby. Flowers were something that both these events shared.

In these important rituals of life like weddings, funerals and celebrations, flowers are ever present, announcing beginnings and endings, so they became a good starting point for my work.  Flowers have been used in decoration from textiles to wallpapers and silverware and are often associated with the idea of making things more beautiful. In my opinion, flowers are also used as a way of concealing, hiding the ugliness and the pain and the rotten.

Visualizations of Contemporary Paranoia: Shelley Reed’s A Curious Nature

June 8, 2017 - Candice Bancheri

Paranoia has a way of creeping up the spine and burrowing into the brain. Like a tick in the woods waiting for the right moment to latch onto its next host, it feeds—gorging itself on suspicions of falsehoods, naivety, and manipulated truths.

Digesting Shelley Reed’s paintings felt a lot like discovering that tick on the back of your leg hours after a jaunt through the woods. With the utmost conviction, the tick quietly clung to its chosen host, fastened itself within the layers of fleshy epidermis, and fed until its swollen body pulsed with excess. Fortunately, Reed’s paintings do not carry Lyme disease or Rocky Mountain spotted fever. However, they infect the viewer with something much more revealing of its source and equally uncomfortable to contract. Contextualized by the looming crescendo of the information age, Reed’s exhibited work at the Fitchburg Art Museum begged the question: are curiosity and paranoia two sides of the same coin?

The Photographer's Story: The Old Jersey Shore

June 8, 2017 - The Lonely Planet Traveller

I’ve spent the last two years documenting the Mid-century Modern motels of the Wildwoods, a group of shore towns on a five-mile island in southern New Jersey. Built in the ’50s and ’60s and virtually unchanged, they form the largest concentration of postwar resort architecture in the US. As a native of the Jersey Shore, I’ve always been interested in the coast’s history and buildings, and when I happened upon the Wildwoods one winter, I felt like I’d travelled back in time.

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Artsy features Celia Gerard's show, "ASCENT / DESCENT"

April 28, 2017 - Charles M. Schultz

The shape of Celia Gerard’s studio is akin to an isosceles triangle whose apex has been leveled. It is a slightly irregular shape, but with a door on one end, a window at the other and a set of walls connecting base to foregone-tip, its geometric irregularity recedes beneath the structural logic of a building within which this little polygon fits neatly. When I imagine an image generated by changes in the layout of this building—small studios merging; larger ones being subdivided—I see fluctuating spatial relationships defined within a set of unchanging parameters. Older forms become ghosted beneath newly constructed arrangements that arise as they are needed. There is a natural order that underlies this apparent chaos; the question is how does one find that natural order? How does a person cultivate the ability to see the logical operations that give shade and shape to what may otherwise appear tangled and arbitrary?

Cubist Art, Fresh Angles, The New York Sun Review

April 28, 2017 - Carol Diamond

Two gallery shows of contemporary art in Manhattan bring geometry and tactility together with vibrant results. New York–based artist Celia Gerard is exhibiting her signature large-scale mixed media drawings alongside relief sculptures in ceramic and bronze at Sears Peyton Gallery in Chelsea. At Fox Gallery on the Upper West Side, Greek artist Eozen Agopian adds thread and fabric to her abstract paintings. Large and small-scale works by Ms. Agopian fill two rooms of the salon-style gallery. Both artists use the pictorial language of geometric abstraction to take on the mantle of Cubism.

In Ms. Gerard’s drawings, triangles appear and disappear in transparent veils of muted hues that press toward and away from the picture plane. Black lines zigzag playfully across the page, creating scalene triangles in “Ghost Bird,” 2016. Translucent layers of aqueous blues cover large areas of the composition, delineating white and pale-yellow birdlike forms. Ms. Gerard achieves formal tension here by combining soft, barely-there atmospheric color with resolute, geometric clarity. Her abstracted birds in flight recall Georges Braque’s iconic “oiseaux,” a recurring symbol in the Cubist master’s late work.

Black Magic: New England Home features Rick Shaefer

April 15, 2017 - Robert Kiener

Charcoal is the medium of choice for Rick Shaefer, whose powerful drawings reflect his fascination with, and mastery of, the "integrity of the line."

Bent over a waist-high, eight-foot-square table in his airy, light-filled studio, Fairfield-based artist Rick Shaefer seems lost in thought as he feverishly draws with charcoal on a massive sheet of white vellum. He works quickly but precisely, scratching out crisp black lines.

Pausing and standing back to inspect his progress, he explains why he prefers to create works in charcoal rather than paint, pencil, or some other medium. "It's so primitive," he says. "Our Paleolithic ancestors were scratching with burnt wood on the walls of caves, and I like to think - at the risk of sounding too romantic - that using charcoal somehow links me to what artists have been doing for thousands of years. I also like the tonality, the rich, crisp blacks on white that I get with charcoal."

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The Last Magazine: Agnes Barley's Shadow Structures

March 29, 2017 - Annette Lin

It’s hard to imagine a series of minimalist, monochrome geometric reliefs as “soft”, and yet in Agnes Barley’s hands, they are.

Her latest show, “Agnes Barley: Shadow Structures” at Sears Peyton Gallery in New York’s Chelsea, is dedicated mostly to an untitled series of medium- and large-scale relief panels and sculptures, all involving stacked geometric arrangements in meditative white. Her series (Untitled Collage) Late Grid Waves is also on display, but the main focus lies on those mesmerizing, graphic reliefs that play with space, light, and line through variations in height and the occasional shadow thrown here and there.

1stdibs, Introspective Magazine: "The Enduring Appeal and Extraordinary Breadth of Equine Art" features Thomas Hager, Jane Rosen, and Suzy Spence

March 25, 2017 - Ted Loos

Manhattan’s Sears-Peyton Gallery exhibits several artists who could be said to focus on the mane event, including Jane Rosen and Thomas Hager. The California-based Rosen paints and sculpts horses and other wildlife on her ranch, working with equal virtuosity across a variety of media, from hard Provençal limestone to soft charcoal on paper. Hager, for his part, does cyanotypes and pigment prints of horses, giving an elegiac and timeless quality to his subjects.

Another Sears Peyton artist, Brooklyn- and Vermont-based Suzy Spence puts her own modern-day spin on English sporting art. “I love these paintings, with all their tension and complexity, and I return to them again and again,” says Spence, who makes loosely painted, charmingly gestural scenes. “They’ve come to represent refinement, but what many people don’t know is that this manly sporting life was actually quite debauched.” Spence cites both the Lascaux cave paintings and painter Susan Rothenberg’s well-known contemporary series of abstracted horses as secondary inspirations.

New England Home Magazine highlights artist Deborah Dancy

February 23, 2017 - Robert Kiener

In works with a visceral, spontaneous feel, Deborah Dancy explores the amorphous zone between abstraction and representation.

With Miles Davis’s moody, improvisational Stairway to the Gallows blasting away in the background, Deborah Dancy layers thick gobs of blue oil paint onto a just-begun abstract painting in her spacious, light-filled Storrs studio. She uses a brush to add a sinuous green line, then coats on yellow paint with a plastic spatula. Pausing, she stands back and inspects her work before hurriedly scraping off much of the paint she’s just added.

Oblivious to a friend who has quietly walked into her studio, she’s lost in the moment, caught up in what she has called the “conversation” or “orchestration” she has with every painting and drawing she creates. Dancy, a much-lauded painter who lists a Guggenheim Fellowship among her many awards and grants, stands back and considers her painting.

FotoRoom interview with photographer Tyler Haughey

January 25, 2017 - FotoRoom

Worldwide, the words Jersey Shore have become synonymous with bulky guys and busty girls partying hard and shaming themselves in so many different ways (thank you, MTV). For the non-American, Jersey Shore is actually the common name used for the coast of the US State of New Jersey, a popular summer destination since the 1950s, when many new resorts were constructed to host the influx of tourists. American photographer Tyler Haughey’s beautiful series Ebb Tide captures the unique architecture and mood of these resorts during the off season, when the tourists are gone and the motels sprinkled with snow.

A Season of Psychic Noise: Bo Joseph Interviews with Artsy

November 16, 2016 - Suzy Spence

On the first day of his exhibition A Season of Psychic Noise, I had the pleasure of speaking with fellow painter Bo Joseph. Bo and I were born the same year and attended New England colleges where our initiation to art history in the late 80s was through Louise Gardner’s encyclopedic tome Art Through the Ages. We were in agreement that the book had been useful (we still own our copies), and that it was regrettable to have professors skip entire chapters on Africa or Asia in the service of presenting a linear Western leaning history. I was fascinated to learn that he’d remedied this with extensive travel and research, a journey that has enabled him to define art on his own terms.

Slate: Tyler Haughey Photographs Motels in his Series, "Ebb Tide"

August 19, 2016 - Jordan G. Teicher

Five years ago, Tyler Haughey, then a student at Drexel University, was driving along the coast when he happened to pass through the Wildwoods. A Jersey Shore native, he’d heard about the Wildwoods but had never been to any of them before. It was February, and the motels were deserted, but he found them captivating, and so he stopped to photograph some of them.

“It felt like I’d happened upon an abandoned film set,” he said.

Artsy Interviews Shelley Reed: Never-Ending Painting

June 7, 2016 - Amy Rahn

Artist Shelley Reed excerpts small details from Old Master paintings, expanding and re-contextualizing them in her often large-scale black and white paintings. On a recent sunny morning in Brooklyn, Amy Rahn spoke with the artist about the origins and intentions behind her work, the time-traveling potential of representation, and her current exhibition at Sears-Peyton Gallery.

Poogy Bjerklie, The Hudson Review by Karen Wilkin

May 19, 2016 - Karen Wilkin

Poogy Bjerklie’s debut exhibition at Sears-Peyton Gallery, Chelsea, titled “Inland,” reminded us of what happens when observation is internalized and used freely.  Bjerklie’s mysterious, intimate landscapes appear to be about places she knows well-probably in her native Maine-filtered through memory. 

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Bittersweet at Sears-Peyton Gallery

May 4, 2016 - Art Out

"Bittersweet" featured in Musee Magazine.

Time and Place: Kathryn Lynch's interview with Artsy

March 1, 2016 - Amy Rahn

Over her more than 25 years painting and exhibiting her work in New York and elsewhere, Kathryn Lynch has established herself as a painter whose works harness the lush materiality of paint to gesture towards subjects seemingly beyond the frame—relationships, change, the passing of time. On the occasion of Kathryn Lynch’s two-part exhibition, A View of One’s Own at Sears-Peyton Gallery, I sat down with the painter to talk about her life, paintings, and the curiously dictatorial tendencies of her shapes.

Contemporary Watercolor Artists You Should Follow

February 18, 2016 - Angie Kordic

Widewalls Magazine names Top 10 Contemporary Watercolor Artists to Follow including Lourdes Sanchez

Deborah Dancy: Between Abstraction and Representation - ARTPULSE

December 16, 2015 - Jeff Edwards

Although her art is thoroughly abstract, Deborah Dancy’s paintings, drawings, and works in other mediums are intimately bound to the world of concrete objects and the ephemeral perceptions and feelings of everyday life. On her website (, she comments on her fascination with “the poetic terrain of the incomplete, the fragment, the ruin and residue of ‘almost was,’ and ‘might become’” that she’s encountered in the zone between abstraction and representation. In the following interview, Dancy talks about how this notion has influenced her artmaking; the wide and ever-expanding array of thoughts, impressions, and situations that have shaped her artistic practice over time; the interaction of different mediums in her creative process; and ways in which the commonplace and the near-at-hand have often had a profound influence on her most abstract work.

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Jigsaw Puzzle With an Integrating Thread - The East Hampton Star

December 16, 2015 - Mark Segal

“I’m very uninterested in subject matter,” Eugene Brodsky told a recent visitor to his East Hampton studio, although he has also said that “the sources for my work start from images I come across.” In his artworks, things are what they seem, and yet there’s more than meets the eye.

Elizabeth Gilbert collaborates with artist Lourdes Sanchez on hand-painted copies of Big Magic -- exclusive

November 9, 2015 - Isabella Biedenharn

If you still haven’t picked up your copy of Elizabeth Gilbert’s No. 1 New York Times best-seller Big Magic (or if your copy has gotten so dog-eared and loved that you need another), you’re in luck: Riverhead, Gilbert’s publisher, is teaming up with New York artist Lourdes Sanchez to create 250 one-of-a-kind, limited edition copies, EW can announce exclusively.

Celia Gerard | Apiece Apart Woman

October 27, 2015 - Leigh Patterson

There’s a quiet complexity to the art of New York painter and sculptor Celia Gerard, whose interdisciplinary work explores shape, line, and the blurring of color through abstractly geometric responses to surroundings; it’s a repackaging and reimagining of a landscape in puzzle piece format. Nine months out of the year, Gerard works from New York City, where she balances her own artwork and upcoming shows with teaching at Pratt, School of Visual Arts and Columbia University. For the remaining months, she retreats to quiet Wainscott, NY, in the farmhouse she shares with her partner Mark, where — in between walks around the neighborhood and to the nearby farm stand— she cranks out work from a backyard studio. Just as the seasons started to change (and on perhaps the only rainy day of the season), we visited Celia at home to discuss her art-driven upbringing, her upcoming projects, and the concepts that inform her ongoing work.

Download Article (PDF) Review, In Poetic Works, Maysey Craddock Transports Gulf Coast to New York

October 1, 2015 - Jean Dykstra

Art Review: In Poetic Works, Maysey Craddock Transports Gulf Coast to New York

Maysey Craddock took the title of her show, “Langsam Sea,” from a poem by Anne Michaels, which reads, in part: “In time, night after night, we’ll begin to dream of a langsam sea, waves in slow motion, thickening to sand.” A German term, often used in musical notation to direct the musicians to play slowly, “langsam” also describes the gradual but inexorable pace of change along the Gulf coastline.

With Silk as Her Canvas, Lourdes Sanchez Finds the Rhythm of Paint

June 5, 2015 - K. Sundberg

In “entonces” at Sears-Peyton Gallery in Chelsea, Cuban-born and Brooklyn-based Lourdes Sanchez presents a vibrant grouping of formal explorations that hover between abstraction and representation. Working in ink on silk, the artist accesses a playful space between control and acquiescence, understanding her materials to the extent where she creates limits and then sets them free, allowing natural seepage and absorption to determine the form they take.

Kathryn Lynch, An Artist at the Mercy of Her Subjects - The East Hampton Star

June 1, 2015 - Mark Segal

It’s a good thing Kathryn Lynch is a committed walker, since she doesn’t like to drive, and the subway stop nearest her Red Hook studio is more than a mile away. But there is a more important reason for her perambulations. “I make sure that every day I have to walk everywhere,” she said recently at her studio, a relatively small but high-ceilinged space in an industrial building. “As I’m walking, it tells me what I’m painting next. I never look for it. But once it grabs you, you have to paint it. For me, the motion of walking leads to ideas.”

Accentuate the Negative: Bo Joseph’s Painted Silhouettes Reveal Hidden Connections within Blank Spaces. Artsy Editorial

April 23, 2015 - Anna Furman

Bo Joseph's complex, patterned paintings are the result of a process of deconstructing and reconfiguring forms and materials, often leaving the results up to chance. He plucks images from auction catalogues and books, traces them, lathers them with paint, then peels off said layers of paint, and outlines the fragments that remain. Several of these works, currently on view at Sears-Peyton Gallery, explore what happens when objects are stripped of their cultural, religious, temporal, and geographical contexts and assigned new meanings.

Rick Shaefer Draws the Line at Housatonic Museum of Art

March 20, 2015 - Janet Serra

Drawing is essential to the training of an artist. It is the most direct medium between the artist and his observations, thoughts, feelings and experiences—serving both as a record and as a revealer of truth. Drawing is both a cognitive and manual process that provides the foundation for painting, sculpture and architecture. Fairfield artist Rick Shaefer’s monumental, breath-taking drawings offer viewers an adventure in looking with his technically precise and visually poetic drawings of animals and nature.

RICK SHAEFER, "Events in Connecticut", New York Times

February 28, 2015

"Rick Shaefer: Drawing the Line" at the Hausatonic Museum of Art, a solo exhibition through March 27th, featured in the New York Times on Saturday, February 28, 2015.

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Jane Rosen featured on

February 26, 2015

Jane Rosen's work featured in “Materials Matter” through March 30 @ Seager Gray Gallery.

EUGENE BRODSKY, "Plans", The East Hampton Star

December 2, 2014 - Mark Segal

“Plans,” an exhibition of recent ink-on-silk works by Eugene Brodsky, an artist with studios in East Hampton and New York City, is on view at Sears-Peyton Gallery in Chelsea through Dec. 20.

The works reflect Mr. Brodsky’s fascination with the blueprints and sketches of significant 20th-century architecture, especially “the worked-on, tattered, erased, and notated records of how something came to be.” Each piece fuses his vision with that of an architect or planner, resulting in images that suggest, but do not replicate, their origins.

Mr. Brodsky has described these pieces as “essentially creating a jigsaw puzzle of silk,” a complicated process that includes drawing, collage, vector conversion, laser-cutting, inking, silk-stretching, pinning, and assembly, processes that, in the artist’s words, “remain mostly invisible to the viewer, who rightly just sees what’s there.”

JANE ROSEN in Works & Conversations

November 12, 2014 - Richard Whittaker

Jane Rosen interviewed by Richard Whittaker

RICK SHAEFER'S American Bison featured in the LA Times

August 31, 2014 - Adam Tschorn

Luxe L.A. bag and accessories brand Parabellum has opened its first permanent brick-and-mortar space — a flagship store on Melrose Avenue just west of Paul Smith’s pink pied-a-terre.

The shop, which officially opened Aug. 23, has a western interior wall dominated by a 12-foot-by-9-foot three-panel charcoal drawing of an American bison created by artist Rick Shaefer opposite a custom-made, 8-foot-long, black bison leather Chesterfield sofa with claw feet. Other wall art includes mirror and metal pieces by L.A. brand Blackman Cruz.

Review of SHELLEY REED'S retrospective at the Columbia Museum of Art

July 18, 2014

An insightful review of Shelley Reed's retrospective at the Columbia Museum of Art

KATHRYN LYNCH Sears-Peyton, ARTnews

January 28, 2014 - by Stephanie Strasnick

Kathryn Lynch reviewed in ARTnews

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ARTslant, An Interview with CELIA GERARD

January 20, 2014 - by Charlie Schultz

A Form Between Forms: An Interview with Celia Gerard 

Celia Gerard is an artist for whom two sticks of charcoal, a bit of white paint, and a strong sheet of paper is plenty of material. "Line Quality" could be her mantra, and looking at her works one can see why. Gerard's abstract compositions are built on geometric foundations of linear marks that may be subtle or bold but are always decisive. While her solo exhibition, "Lost at Sea," was being hung, ArtSlant editor Charlie Schultz paid Gerard a visit to discuss her newest body of work.

"When Sculpture Turns to Drawing", The Daily Beast

January 11, 2014 - Article by Justin Jones

In 'Lost at Sea' Exhibition, Celia Gerard’s Sculpture Turns to Drawing.

Celia Gerard's mixed-media works hang in a balance of solidity and transparency, sculpture and drawing, as she finds a way to dig deeper into space.

Paint and Die Happy: An Interview with KATHRYN LYNCH in Guernica Magazine

December 16, 2013 - with Haniya Rae

The American painter on the terror of a blank canvas, finding inspiration in the streets of New York, and how motherhood has impacted her art.

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KATHRYN LYNCH, A Silent Language

November 21, 2013 - Essay by Jonathan Lee

Essay by Jonathan Lee to coincide with Kathryn Lynch's exhibition, A Silent Language.

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DEBORAH DANCY, review, The Drawing Center

June 27, 2013 - by Emmie Danza

Gallery artist Deborah Dancy reviewed on The Drawing Center's column, "Annotations."

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CLAY WAGSTAFF featured in "Painted Landscapes"

May 30, 2013 - a new book by Lauren P. Della Monica

"Though painted with incredible detail and realistic in approach to rendering the natural landscape, Wagstaff ’s untouched places are imbued with soft light and washes of color that create environments at once peaceful and otherworldly, somehow unreal."

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The Art of Skiing, article on JOHN HUGGINS

April 2, 2013 - by James Baker

John Huggins featured in Aspen Magazine.

"Armed with an antique camera, photographer John Huggins illustrates modern-day skiing— but with a historic and timeless touch."

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Living with Art, MACIE SEARS featured in Westside Magazine

January 19, 2013 - by Christy Hobart

Macie Sears featured in Westside Magazine.

"Macie Sears' passion for art infuses her family life with color, composition and inspiration.  Beauty is on the walls, in the garden and throughout their day-to-day lives."

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JANE ROSEN, 7x7 Magazine

January 19, 2013 - by Lauren Goodman and Katherine Krause

Jane Rosen featured in 7x7 Magazine's The Artist's Stuido; Six world- class artists open their Bay Area studios.

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May 23, 2012 - by Julie L. Belcove

Kathryn Lynch featured on Introspective Magazine

Filling In The White Space

May 1, 2012 - by Courtney Jordan

Roz Leibowitz featured in Drawing Magazine

Dense patterns and pen strokes distinguish Roz Leibowitz's peculiar drawings, allowing the artist to explore subtly subversive narratives hidden in not-so-plain sight...

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SHAWN DULANEY Sears-Peyton, ARTnews

April 1, 2012 - by Doug McClemont

Shawn Dulaney reviewed in ARTnews

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KATHRYN LYNCH Sears-Peyton, New York Magazine

January 25, 2012 - by Wendy Goodman

Kathryn Lynch featured in New York Magazine, "First Look: The Artist Who Haunts a Tribeca Warehouse"

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EUGENE BRODSKY Sears-Peyton, ARTnews

January 1, 2012 - by Cynthia Nadelman

Eugene Brodsky reviewed in ARTnews

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EUGENE BRODSKY Sears-Peyton, Huffington Post

December 16, 2011 - by Peter Frank

Eugene Brodsky reviewed in Huffington Post

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JANE ROSEN: Looking With Your Whole Body

August 1, 2011 - by Richard Wittaker

Jane Rosen interviewed in Parabola Magazine

CELIA GERARD Sears-Peyton, ARTnews

April 1, 2011 - by Mona Molarsky

Celia Gerard reviewed in ARTnews

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CELIA GERARD Sears-Peyton, Parabola Magazine

February 13, 2011 - by Tracy Cochran

Celia Gerard reviewed in Parabola Magazine, Editor's blog

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CELIA GERARD Sears-Peyton, CityArts

February 8, 2011 - by Mario Naves

Ceila Gerard reviewed in CityArts

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BO JOSEPH Sears-Peyton, Art in America

September 1, 2010 - by Gerard McCarthy

Bo Joseph reveiwed in Art in America

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JANE ROSEN Sears-Peyton, Parabola Magazine

September 1, 2010 - by Tracy Cochran

Jane Rosen reviewed in Parabola Magazine, Editors's blog

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CLAY WAGSTAFF Sears-Peyton, Art in America

September 1, 2009 - by Elaine Sexton

Clay Wagstaff reviewed in Art in America

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KATHRYN LYNCH Sears-Peyton, Elle Decor Magazine

August 1, 2009 - by Maura Egan

Kathryn Lynch featured in Elle Decor Magazine, Art Show

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MARYBETH THIELHELM Sears-Peyton, Coast Living

August 1, 2009 - by M. Lindsay Bierman

MaryBeth Thielhelm highlighted in Coast Living, Editor's Letter

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ROZ LEIBOWITZ Sears-Peyton, The New York Times

January 22, 2009 - Suzanne Slesin

Roz Leibowitz featured in The New York Times, Home & Garden

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CELIA GERARD Sears-Peyton, Works & Conversations

January 8, 2009 - by Richard Wittaker

Celia Gerard featured in Works & Conversations, The Precision of the Artist, No. 17

ISABEL BIGELOW Sears-Peyton, Art in America

January 1, 2009

Isabel Bigelow reviewed in Art in America

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SARA EICHNER Sears-Peyton, Metropolis Magazine

December 1, 2008 - by Mason Currey

Sara Eichner featured in Metropolis Magazine

SARA EICHNER Sears-Peyton, Wallpaper Magazine

December 1, 2008

Sara Eichner featured in Wallpaper Magazine

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SARA EICHNER Sears-Peyton, I.D. Magazine

November 3, 2008 - by S. Moreno

Sara Eichner featured in I.D. Magazine Online

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JANE ROSEN Sears-Peyton, Sculpture Magazine

October 1, 2008 - by Jan Garden Castro

Jane Rosen reviewed in Sculpture Magazine

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KATHRYN LYNCH Sears-Peyton, The New York Times

May 29, 2008 - by Penelope Green

Kathryn Lynch featured in The New York Times, Home & Garden

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Andrew Zimmerman: Expansion Series

April 2, 2008 - Jeff Kopie

Andrew Zimmerman: Expansion Series, Catalog Essay by Jeff Kopie 

ROZ LEIBOWITZ Sears-Peyton, Alarm Magazine

February 1, 2008 - by Emma Tramposch

Roz Leibowitz reviewed in Alarm Magazine Online

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ISABEL BIGELOW Sears-Peyton, Elle Decor Magazine

January 1, 2008 - by Linda Yablonsky

Isabel Bigelow featured in Elle Decor Magazine, Art Show

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Catalog Essay for Dynamic Symetry, Clay Wagstaff

May 31, 2007 - Kimberly Whinna

Clay Wagstaff

May 31- June 30, 2007

Dynamic Symmetry

Sears-Peyton Gallery is pleased to announce our first solo exhibition of works by Utah based artist Clay Wagstaff.  DYNAMIC SYMMETRY is a collection of recent oil paintings

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Catalog Essay for American Eden, Michael Abrams

February 8, 2007 - Kimberly Whinna

American Eden

The Mohonk wilderness in upstate New York has remained untouched since 1869.  Nestled between the Catskills and the Hudson River, its lush hills roll undisturbed by over a century of history.  It is within such time capsules of nature that Michael Abrams’ paintings find their place and time. 

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CLAY WAGSTAFF featured in American Art Collectors magazine

July 1, 2006

Catalog Essay for Nameless Seas, MaryBeth Thielhelm

March 23, 2006 - Kimberly Whinna

Sears-Peyton Gallery is pleased to present the second solo exhibition of works by MaryBeth Thielhelm, opening March 23rd and continuing through May 26th , 2005.  There will be an opening reception for the artist on Thursday, March 23rd, from 5-7pm.

When the sun rises in Abqaiq, a town near the Persian Gulf, the sand dunes turn a magical purplish blue.  The horizon is low and flat and the wind-etched dunes roll endlessly into the distance.  A gaseous sort of heat resonates from the sand, creating a shimmering mirage of color particles.  MaryBeth Thielhelm’s earliest visual memories revolve around these shifting hues of warm, dusty light which saturated her childhood in Saudi Arabia.

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ROZ LEIBOWITZ, The New York Times

January 23, 2004 - Ken Johnson

JULIE EVANS featured in "Playgroud", The New York Times

June 14, 2002 - Ken Johnson


February 25, 2001 - by Nancy Hass

Andrew Zimmerman's "Expansion Series" catalog essay

November 30, -1 - Jeff Kopie

Andrew Zimmerman’s recent work situates itself somewhere between painting and sculpture.  Combining elements of both practices, while refusing to be either, the work gathers its strength in the tension it creates between them, as well as in other, more clearly oppositional, categories.  These objects are sculpted and painted; they are additive and reductive, moving toward harmony while suggesting an imminent entropy.  They are produced mechanically but by a guiding human hand.  Attached to the wall by an underboard akin to the wood support of a painting, from a distance the works look like irregularly shaped, abstract canvases with flat patternings of lines.


The first step in Zimmerman’s process approximates traditional sculptural practice, in that he begins with a piece of plywood (in sheets of ¼, ½ and 1 inch thicknesses), and subtracts from it through a sequence of cuts made with a jigsaw.  Taking away from the wholeness of the board, the removal from the volume results in the patterning of the work.  Even as the technique is related to sculpting, it has an equal relationship to both painting and drawing.  Zimmerman has referred to the initial cuts as ‘drawing with a saw’.  In effect, he is placing marks on a flat surface, although these marks, while retaining the quality of incisions on a plane, go deeper, introducing actual (rather than illusory) depth to the work.


The segments of the broken picture plane are then reassembled, with approximate equal spacing between the parts, and reattached to a board of equal thickness.    By disassembling the surface, Zimmerman paradoxically expands it. The resultant imagery is filled with reverberant movement.  If read as two-dimensional, many of the works recall topological maps, wherein the land has been carved away with precise geometry.  In others, the accumulation of elements imply an increasing weight, their repetitious layering reminiscent of sedimentary geological strata.  Denying any clear point of fixity, these objects convey a tension of surface in flux.  At once harmonic and entropic, the surfaces breathe, expanding and contracting, closing in on themselves while simultaneously threatening to burst apart.   The rigidity of the unbeveled segments stand in counterpoint to their undulations as they travel across the surface.  The same dynamic is present in the outward shapes of the works, which, dictated by the process of cutting, are often disjunctive; they are in marked contrast to the mellifluous patterning of the interiority.


While the reliefs’ cuts are obviously made with a saw, the freehand, almost gestural use of the machine evidences the artist’s hand.  Following the freehand drawing cuts, Zimmerman’s paint application also emphasizes process and enforces the sensation of fluidity.  First, the incised areas are painted with a spray gun, usually in acrylic.  The segmented areas are then rolled with enamel.  Zimmerman’s intuitive color choices are sumptuous, and the play between acrylic and enamel, surface and subsurface produces an array of gradation, variably jolting or subtle.  When restricted to one color, as in 2007.11 and 2007.05, the intricacies of construction and the play of light across the surface take precedent.  In smaller, white reliefs, such as 2007.02 and 2007.03, the hints of blue inherent in the white paint emerge.  In 2007.08, the enamel surface has been sanded down to a matte finish, its interstices sprayed with an enamel blue, under which vestigial traces of red are visible.   


Zimmerman’s work acknowledges the necessity of working in three dimensions, while yearning to return to the format of flatness.  Far from mere nostalgia, or postmodern trickery, these objects are an organic evolution, a traversal from painting to sculpture, from two dimensions to three.  Zimmerman has his eyes fixed forward, but his vision still steals fruitful glances back into the rear view mirror. 


Jeff Kopie