Tuesday, October 27, 2020

Battery Journal Publishing

Onward into the new year! 2021
 
BATTERY JOURNAL
Uni-Verse Poetry - Prints - Proofs by Visionary Humans
Editor-in-chief Anna Ehrsam
 
I'm thrilled to be part of the new edition of BATTERY JOURNAL.
Anna Ehrsan's razor-sharp eye, and ideas in science, art +culture is
not be missed.  

Co-edited and organized by Anna Ehrsam and Katherine Jackson.

They are scheduling more readings, studio visits, and other events 

through the winter and into the spring. Please contact Anna or Katherine 

to schedule an event.

Uni-Verse Poetry - Prints - Proofs by Visionary Humans unites the poems and visual art of 82 contemporary artists to create a portrait of diversity, multiplicity, and oneness. 

 


 
Mary Ann Strandell, Hudson Yards Black with Kimono,
3D Lenticular Media, 20” x 14”, 2019 @maryannstrandell

 
 
 
 
 
 
  










Open Book. Anna Ehrsam on left; Standell on right, and you tube     .      
LINK to You Tube Zoom Salon with Anna Ehrsam, Katherine Jackson, Gennifer Levey and the writers and artists.



New York, NEW YORK, September 20, 2020 – In times of crisis, art and poetry provide philosophical and spiritual insights, catharsis, and healing. For millennia, artists and poets have been the visionaries whose work possesses the power to capture the full range of human experience, from the horrors of war to the ecstasy of transcendent love. The vision behind this collection is to create a vast wealth of powerful expression that is both deeply enmeshed in the specificity of history and at the same time, an enduring, crucial, human constant. The artists and poets chosen for this book create an intersectional, multi-generational poesis, from David Ferry, who is 96, to Adelaide Holden, 6. Each poem is paired with a visual work, creating an interweaving of human witness that grows exponentially as the book progresses. This is a book to return to over and over, not always starting at the beginning, but finding new vibrant pathways through its proliferating interconnections.

Some of the poets and artists in the book are Tom Sleigh, Rosanna Warren, Rowan Ricardo Phillips, Gail Mazur, Alan Shapiro, Roger Bonair-Agard, Elaine Equi, Mel Chin, Deborah Kass, Susan Bee, Michael Joaquin Grey, and Michael Rees.

Following are comments about the book: 

“This book is a joy, a rare marvel, a true feast for the senses.” – Rowan Ricardo Phillips, poet, author of Living Weapon, 2013 Whiting Award winner, and professor at Williams College

“Many spreads in this volume embody Lawrence Ferlinghetti’s belief that ‘as long as there is poetry, there will be an unknown, as long as there is an unknown there will be poetry,’ by pairing works of art and poetry that at first look may be unknowable, but create synergy that stole my consonants: “Ooooh!” The oldest and youngest poets bounce off each other eloquently—96-year-old David Ferry, National Book Award winner, paints a stark evocation of a Walker Evans photograph, while Grace MacNair so accurately describes ‘The starlings—/out-swung in sheets’ in ‘The Shape of Air.’ Go spend good time with this volume, as it artfully makes the unknown more knowable.” – Tina Kelley, poet, author of Rise Wildly, and winner of a 2003 Washington State Book Award and a staff Pulitzer Prize at The New York Times

Tuesday, October 20, 2020

Bemis Exhibition and Auction

The 2020 Bemis Exhibition and Auction

October 1 - 30th 2020

The Bemis Center For Conteemporary Art
724 S. 12th Street, Omaha, NE

Check out my new work for the auction:
"Woodman Tower Construction Transit"
3D Lenticular Media, w acrylic 
42 x32" 2020  (framed)
 
Mary Ann Strandell,



 
Art statement;
Every time I venture to Omaha, I search for the tower
marked WOODMAN. The urban core surrounds it.
It was more indelible after Alexander Payne's, About Schmidt.
The construction site rendered in ink, of the1971 structure 
is embedded into the layers of this 3d Lenticular Media. It is 
part of a long line of works that envelope my interest in unfolding 
the views of the subtext, the bones of time. There is memory 
imbued within the bones of the building, the place, the architecture 
that in and of itself has veracity. These time-drawings arc to reel
in the strength of what is becoming,  before our societal 
eyes have shaped it. There is a second construction site in the work. 
It is the famous World War I memorial in Kansas City.
My rendering of it reveals the inner construction, built in 1926. 
There are five additional tower buildings within the framework 
of this lenticular. Two of them are cell towers within the city 
limits of Omaha. These many drawings reverberate within the
mapping and geometric forms that interweave a nuanced grid. 
The optical lense surface of the lenticular allows the many layers 
to activate with the viewer's movement.
   

 View The Artwork at Bemis Auction

BUY IT NOW till OCT 24. OCT 24 - 30 ON-LINE BIDDING

LINK - RSVP  Free and Open To All. RSVP required to recieve Zoom lofin details



 

 

 

 

 

 


Monday, September 14, 2020

ARTPORT KINGSTON

Altered Presence
August 29- October 4th

ARTPORT KINGSTON
108 East Strand Street
Kingston, NY  12401




 

 

 

 

 

 

 

 

Life as we know it has been altered worldwide. What used to be “normal” had to change, we all had to adjust and still do. Life is about multi-tasking and adapting to whatever comes our way. Nature taught us the ability to germinate and grow under more or less adverse conditions so once more we learn how to reinvent ourselves constantly.
 
ArtPort’s exhibition “Altered Presence” explores the idea of transformation, from material, conceptual, mechanical or physical. Showing works that seem to alter their appearances, reshape their presence and react to their context.     
Curated by Director: Laurie DeChiara

Artists: Sophi Kravitz, Suzan Shutan, Mary Ann Strandell, Roxanne Faber Savage, Stefan Saffer, Jordan Tinker, Susan Jennings, Susan Rowe Harrison, Karlos Carcamo, Dan Devine,
Michelle Weinberg, Melinda Hackett and others

Gallery Open: Saturdays and Sunday 12-5pm or by appointment—-ArtStream Open: 24/7
We are taking safety precautions to keep our community safe to prevent the spread of COVID-19 



ArtPort is a newly established cultural space in the historic Cornell Steamboat Building along the Rondout Creek in Kingston, NY. ArtPort’s aim is to be a destination for art experiences and unconventional interaction between contemporary art and a wide range
of audiences. A family friendly platform for art exhibitions, performances, workshops and community gatherings.
ArtPort’s genesis illustrates why the endeavor is so unique. First came the Historic Kingston Waterfront Restoration Project, organized to create a Riverwalk destination
for locals and tourists along eight tenths of a mile of Rondout Creek waterfront. Then came the Fleet Obsolete Restoration project -- a not for profit organization dedicated to the restoration of historic WWII PT Boats at the Riverwalk. Both of these projects have been created to celebrate 400 years of maritime industry
legacy on the Rondout Creek.  Now the HKWR vision has grown to include ArtPort, arts programming inspired by the environmental, cultural and historical heritage of the Creek. ArtPort’s first public event opened the holiday season 2019 with a
festive exhibition “Snowflake Waltz”, a visual exploration celebrating the traditions of the winter holidays.  All are invited to come take a stroll through a world of trees
filled with unique decorations.  Artists and makers near and far are sharing their
creations to transform the Cornell Building into a magical wonderland.

Link Artport Kingston : https://www.artportkingston.com/
link: https://www.youtube.com/watch?v=4uqYH1ch9BE#action=share
https://www.newsbreak.com/new-york/kingston/news/2049980076446/photos-video-altered-presence-show-opens-at-artport-in-kingston





Saturday, August 29, 2020

Floating Steps Exhibition

Mary Ann Strandell: Floating Steps 

August 22 - October 25, 2020

JY&A Juliette Yuan & Associates 
163 92nd Street #4
New York, New York  10128
 
 
Mary Ann Strandell: Floating Steps
August 22, 2020 - October 25, 2020
 
J. Yuan & Associates llc is pleased to present Floating Steps, a solo exhibition by American artist Mary Ann Strandell. 
Strandell is known for her lush paintings of architectural structures and nature subjects, at times combined with objects of cultural trade.  Presented as a virtual exhibition the selection of works in Floating Steps reveal the fluid and mediated configuration of observed reality, with a certain fidelity to appearance. The liminal presence of the these painted environs, both the interior and city-scape views, connote a sense of time with floating spatial elements that embody the pictorial plane. Experiencing these works in the rising relevance of today against the backdrop of quarantine as a new normal, posses a silent omnipotence. 

Strandell frequently denotes architectural wonders in New York City, including the three-story, glass staircase in the Apple Store, Chelsea; and construction sites, including Hudson Yards development project on the west side of Manhattan. Her vibrant and dynamic representation of these locations reminds one of the pensive beauty of empty cityscapes while simultaneously arouses contemplative re-imagination of one’s experiences related to the place. Her painting, “56 Leonard Street” depicts the shell construction of Herzog & de Meuron’s Tribeca masterwork. It’s off-kilter design painted with Strandell’s loose brushwork simultaneously poses a visual dialectic of a downward dissolution or an upward building in process.  In her rendering of modern living rooms, the mid-century sunken coach, called a conversation pit, collides with icons from other eras and cultures—such as a sputnik lamp, 15th-century Chinese vase, cocktails, and kitsch porcelain, alluding to the long-existed, complex process of global exchange. By engineering her paintings and drawings into 3D lenticular media, Strandell disassembles integral spatial concerns down to a cumulation of transitory imageries, interweaving multiple layers of visual narratives. The lenticular lens optical surface becomes an allegory of the computer screen, where hand adjustment is replaced by physical vantage points, activated by the viewer where meanings coalesce and converge. -Curator Sheryl Wu
 
 

Mary Ann Strandell, "56 Leonard", 48x36", 2019

 
 
Mary Ann Strandell, "Scope / Royal", 60x48", 2015

Thursday, August 6, 2020

Mainframe Studios

Art Of Our Time Exhibition

Friday, August 7th, 2020
5:00 - 8:00pm RSVP 

Mainframe Studios
900 Keosauqua Way
Des Moines, IA  50309
info@mainframstudios.org

•Mainframe Studios director Siobhan Spain states, “We were really interested in inviting artists from near and far to help demonstrate the fact that we’re all in this together, and that artists can play a vital role in our nation’s resiliency when given the opportunity.”
•Featuring works created in response to the extensive challenges facing the world today, “Art of Our Time”, an invitational show, benefits Oakridge Neighborhood Services, and Community Support Advocates. These organizations have been serving the area’s most vulnerable residents by providing for the basic need of safe, affordable housing for over 50 years. Community Support Advocates with its award-winning Momentum Art Program provides transformational programming
for artists with disabilities and mental illness.
•Sales also benefit those creating the work, with the understanding that artists warrant support for their vital role in helping us process, reflect, heal and progress.
Organized by Mainframe Studios, Olson Larsen Galleries and Yellow Door Gallery. Organizers are not taking a percentage of sales.

Organized by Mainframe Studios, Olson Larsen Galleries and Yellow Door Gallery. Organizers are not taking a percentage of sales. 

Tangerine Food Company will be providing food and drink options for purchase outside and in The Big Room event.

Thursday, July 9, 2020

KC STUDIO Exhibition Reveiw

 KC STUDIO
“Mary Ann Strandell: The Conversation,” Sherry Leedy Contemporary Art
Mary Ann Strandell has always been a time traveler, with specific interests in architecture, nature, animals and the decorative arts. All these subjects are part of “Conversation,” and they all chatter together, regardless of their respective timelines, and even if their dialogues seem hermetic.
Verdant paintings of birds, tulips, magnolia trees, and parks — all of them bursting with life— are situated next to historic edifices such as the Western Auto and Power and Light buildings in Kansas City. There are also mid-century modern living rooms (conversation pits) filled with decorative objects such as sputnik lamps, floating 18th-century chinoiserie and strange animals. Strandell has long used lenticulars in her artwork, which add a three-dimensional floating quality to some of her images. Ghostly blueprints also hover over some architectural pieces.
Strandell’s migrations take the form of memory journeys and are thought forms as much as actual reproductions of places and things. Some bring pleasure, some are strange, and others make us wonder what came before and what will follow. There’s really no such thing as time or space in Strandell’s art; she creates the constancy of nature and beauty while also showing the beginning of everything human-made while hinting at its ultimate demise.


Hung Liu: Seedlings,” “Anne Austin Pearce: Path” and “Mary Ann Strandell: The Conversation” continue at Sherry Leedy Contemporary Art, 2004 Baltimore Ave., through Aug. 22. Call to make an appointment, 816.221.2626. For more information, www.sherryleedy.com.

SEE THE FULL REVIEW:  Three Solo Shows

Monday, June 29, 2020

RIPPLE EFFECT

Exhibition: Ripple Effect

ArtPort Kingston, Kingston NY
The Cornell Steam Boat Building
Opens June 27, 2020 

Ripple Effect is a group exhibition curated and organized by Laurie De Chiara,
director of ArtPort Kingston.  The exhibition is part of an evolving series
of topical conversations and installations within the cultural landscape of today's Covid world.
"The Ripple Effect, passing messages and information along for more people to experience. In our current times of unknown and unrest, perhaps the power of art can provide alternative perspectives.  Our world has changed, thus we have created an exhibition of dialogues influx.  Changes in the exhibition will occur regularly with new artists added and different configurations of installations.  We can not be stagnant, shifts and transitions keep us from becoming complacent. Every time you return something might have changed to give a different perspective." - Laurie DeChiara

Exhibition artists: Mary Ann Strandall, Susan Jennings, Will van Roden, Dasha Bazanova, Undine Brod, Gabe Brown, Melissa Dadourian, Jeila Gueramian, Miwa Koizumi, Ann Mailey,  Ruby Palmer, Traci Talassco, Clare Torina, Christine Stiver, Julie Hedrick, Samantha Strand, Roberta Ziemba

Mary Ann Strandell, Transit Portal Installation (partial view), ArtPort Kingston
Mary Ann Strandell's installation, "Transit Portal" is part of the Ripple Effect Exhibition.  'Transit Portal" consists of a hand-painted, forty foot sumi-brush wash drawing with twelve 3d lenticular print media, mounted throughout the large ink drawing. Strandell brings together three historical spaces: the baroque, modernism, and post-modernism. Strandell considers the multiple viewing experience to that of ones daily experience on-line;  the many search windows we navigate on our personal computers. The base drawing portrays an echo of a specific historic room designed as a formal gathering place for social connecting, and story telling- the Salon's of Europe passed.
The ink drawing of The Fragaonard Room from the Frick Museum is based on a 1940's photograph. Intrigued by the lack of internet documentation of this Period Room, as the on-line access is only a virtual tour, Strandell activates issues of time, the hand drawn, and the mediated experience of now.
The array of lenticular media vary in their picto-graphic and algorithmic references.  The three dominant lenticular works have a central image of the 1970's "conversation-pit", the retro sunken couch; hand-painted in oil, and transferred to lenticular. Within the lenticular media float imagery from pop culture including kitsch elements, design decor, auction-house items, spudnik lamps, California pools, and more. Other lenticular works depict moving images of birds, ancient vases, and the odd references to porcelain objects, along with the ghosts of Hokusai woodcuts. "Transit Portal" installation is a mediated chamber of time-travel.

ArtPort Kingston
108 E. Strand Street
Kingston, NY 12401
917-796-5390
The Cornell Steam Boat Building 
info@dechiaraprojects
www.dechiaraprojects.com
ArtPort Kingston, NY
Hours: Sat/Sun 12-5 pm






Wednesday, June 24, 2020

Reschdeuled Exhibition

"The Conversation"
Mary Ann Strandell
June 4 - August 22, 2020

Sherry Leedy Contemporary Art
2004 Baltimore Avenue
Kansas City, MO  64108

Sherry Leedy
Director  _sherryleedy@sherryleedy.com  

LINK to Catalogue:
Exhibition Catalogue: Mary Ann Strandell; The Conversation

 
My SLCA exhibition The Conversation, was to open April 2nd. It was postponed due to the global pandemic. During quarantine I addressed new works and revised others. The two 2019 Lenticular prints are based on the 'conversation pit' sofa's, the sunken couch styles from the late 60’s and early 70’s. The funky retro nature of this style, along with “PIT" drove me to consider the semiotics of such. I think, figuratively, of the pit we fall into as we converse in our society today; in lieu of rampant fake news and a social media driven by sensation and ego. The additional 3d Lenticular works are all based on architecture from NYC and KC. Each contain a veneer of layered ink drawings that represent a different version of their full final presence as architecture. They began as oil paintings, and ink drawings, then transversed into collage, then engineered into the quotidian space of lenticular.
The oil paintings are of structures, landscape and various references to nature. Since I work consistently between painting and printmaking, and between analogue and digital I am ultimately interested in the concept of the "mediated image". Influenced by The Picture Generation, Rauschenberg and Richter, I am concerned with topics of appropriation, authenticity, and the surge of cultural memes, I find there is a great territory of instability and power in images and their possible meanings. All the oil paintings in The Conversation exhibition are based on photos. Some came from the internet, or field guide studies, and most of them I took with the intention of translating them in to painting.
I hope you all get a chance to see the show, virtually or in real time. Sherry Leedy and Allison King are at the gallery in the Crossroads from Tuesday to Saturday 11:00 and to 5:00pm. Just swing by, knock on the door. Of course wear a mask and take your time…. There are two other
terrific solo shows at SLCA. @hungliuartist Hung Liu's handworked prints of oil paintings, and @anneautinpearce Anne Austin Pearce’s complex collage's of painted organic abstractions. Be safe out there...!


Artist Mary Ann Strandell is known for her lush paintings and innovative lenticulars. Her ability to synthesize the past with the future and create a new dialogue between art history, technology, science, nature and architecture, makes her artwork unique, original and unforgettable.

Strandell’s exhibition, The Conversation, explores her evolving narratives, combining her interests in architecture, nature and chinoiserie. Often the mix of visual languages in Strandell’s work weaves the energy of nature together with that of the city, each playing off the other.

In addition, there are singular works in painting, such as a close-up of a magnolia blossom or tulip, framed tightly, as an exuberant expression of spring. The paintings often re-appear in Strandell’s lenticular’s as disassembled and layered components that support, enrich and continue The Conversation.


LINK to Catalogue:
Exhibition Catalogue: Mary Ann Strandell; The Conversation 

Sherry Leedy
Director
sherryleedy@sherryleedy.com                            
 Allison King
Assistant Director
allisonking@sherryleedy.com  
 Sherry Leedy Contemporary Art
2004 Baltimore Avenue
Kansas City, Missouri 64108
phone: 816-221-2626

Hours: 11am – 5 pm Tuesday – Saturday by appointment.

Saturday, March 21, 2020

The Conversation


"The Conversation", Solo Exhibition
Sherry Leedy Contemporary Art
2004 Kansas City, MO 64108

April 2-May 22, 2020 _ Postponed
RESCHEDULED : June 4th - August 22nd.
Reception is cancelled due to CoVid.
The Conversation exhibition activates a network of images and meanings consistent with the focus of Mary Ann Strandell’s work. The show explores Strandell’s evolving relationship between architecture, nature, and chinoiserie, expressed via ink drawings within lenticular prints and paintings. She uses these subjects along with diverse artistic production to examine a sense of time and place through location and history. Singular themed oil paintings of nature and architecture are presented along with the layered narratives of lenticular  media. The Conversation demonstrates a prismatic relationship between these different subjects and medias.

The variety of Strandell’s work is captivating, woven through her polyglot style. While she continues the paintings of songbirds that many will find familiar, she adds magnolia blossom and tulip paintings  that are framed very tightly as an exuberant expression of spring. These paintings are nature asserting itself in the city.  Also included is an architectural structure rising up in the city as the expression of human nature, or the extension of humans in nature. It is in this painting that Strandell struggles with the boundaries of nature and culture. These  architecture-related works in both paintings and lenticular prints work off each other. Both media are pictorial and algorithmic: the paintings are often disassembled and recapitulated into the lenticular media. This is part of The Conversation.

For example, two of the architectural lenticular works are of historic Kansas City buildings: Western Auto and Power and Light. Both of these works began as oil on canvas paintings. From these oils, Strandell interweaves the initial drawing of the subject, along with ink studies of the structure building from when it was under construction. It’s as if the buildings are dreaming their original skeleton, or that the skeleton is imaging its finished state. Each work contains an 18th century porcelain object that acts as a post script for the markings of trade and commerce.

The title of the show comes from her works that portray the 1970’s sunken couch called a conversation pit. This starts the collection of objects that make appearances throughout the works. The layered floating references include icons from other eras: a sputnik lamp, 15th century vase, cocktails, kitsch porcelain and modernist light fixtures. Often the lenticulars begin as singular painting, a stylized couch here, a conversation pit there, but recede  into the backdrop while other collaged images float above.
 


 
Mary Ann Strandell, "Conversation Pit II", Lenticular Media, 2019
















Mary Ann Strandell, West O, 42x32, Lenticular 2020
























Mary Ann Strandell, Power n Light, 42x32, Lenticular, 2020 
Mary Ann Strandell, "Conversation Pit I", Lenticular Media, 2019
Strandell, "Avenue Ninth n Tenth_Towers", 42x64", 3d lenticular, 2016