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IN the interest of recovering a bit of my youthful silhouette, last fall I visited the epicenter of European spa-dom, the historic city of Baden-Baden, just north of Germany's Black Forest and 50 miles east of Strasbourg. Visualizing a new me with less cellulite, firmer thighs, rejuvenated skin and vanquished arthritic aches, I had committed myself to a four-day stay at the Brenner-Park Hotel and Spa. Although my limbs did become more supple, my muscles remained as jellylike as ever. I shed one or two pounds but nothing significant, and while my skin attained a certain glow, nary a wrinkle disappeared -- although, goodness knows, I was paddled and pummeled and peeled. On the plus side, my appearance was enhanced by what I considered a smart new hairdo although my husband sourly pronounced it a crew cut.
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Helene Schjerfbeck, who died in , is a star in her home country of Finland, where she is regarded as one of the most important female painters of the 20th century. The artist painted until the age of eighty-three. She not only documents her own aging process in her self-portraits, but also her development as an artist: while her early works from the s were oriented toward realism, her later self-portraits from the s are almost abstract. Her oeuvre testifies to an extraordinary independence and modernity, and causes her to stand out from contemporary developments in art. Despite health problems and financial difficulties, Schjerfbeck forges her path as an artist.
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After my apprenticeship as a media designer, I studied multimedia and VR design at Burg Giebichenstein University of Art and Design and have been working as a freelancer for quite some time. Photography accompanies me for more than ten years now. Since I have been trying to capture people in moments in which they are completely with themselves. In this way, the photos tell personal stories. People appear completely without unusual accessories or special outfits.
Comprised of fifteen large and medium-format works on canvas, the show will be on view from August 19th through October 15th, Encompassing both the main level and mezzanine galleries, this new series of paintings began In Perez's Queens studio and was completed in East Hampton. To make these works, Perez relied on a process more closely akin to printmaking than to traditional painting: starting with images drawn on the rectos of large sheets of paper, Perez covered their versos with areas of the gritty oil paint for which he has become known. Laying the paper onto canvases of similar sizes, Perez retraced his drawings, thereby registering his images onto the surface of his canvases. This transfer usually occurs after Perez has painted a canvas with a field of loose, expressionistic marks, or laid down a ground of gold or silver leaf, which remains visible as negative space after tracing an image.
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