Tony Feher - Minimalist Compositions & Displays of Three Dimensional Abstraction

Tony Feher (1956 – June 24, 2016) was an American sculptor.
Feher's sculptural installations—part hobo altar, part curio cabinet, part TSA contraband table—often belie a nuanced understanding of the emotional power of the quotidian object, while displaying, at times, a quality of manic ranging.[4] His signature material, the brightly colored plastic beverage container, found its way into minimalist compositions as well as exuberant displays of three dimensional abstraction. His pieces offer quiet encounters, suggesting the ways an individual might invest discarded bits of flotsam—vacant consumer packaging, toys and novelties—with deep personal meaning.[5] Feher's work was said to be refreshingly direct and permissive; he wasn't overly concerned with its representational character or intellectual ambition. Critic Wayne Koestenbaum stated that ...."He collects and arranges his colorful foundlings with custodial precision—a kinky rigor that restores the dignity of those who overly cathect to household flotsam. Feher’s patterns reassure; he seems a model-maker, constructing maquettes of villages and bundled communities that imagine utopia by seceding from usefulness into gridded whimsy."[6] Silvia Bottinelli, writing in Sculpture Magazine, noted that Feher's ambition differs markedly from other contemporary artists (such as Haim Steinbach) who have made the commonplace object their own: "Feher’s interpretation of the readymade is not strictly Duchampian, though. His work is not about decontextualizing manufactured objects to question ideas of craftsmanship and originality in art. Before landing in a gallery or museum, the elements of his sculptures are part of his daily environmen.Wikipedia
















Dominick Di Meo

"Dominick Di Meo (b. 1927, Niagara Falls, NY) spent some of his childhood in a polio ward, which gave him a uniquely hellish reservoir of images to draw on as a young Monster.Early personages were painted in swirls of poured enamel, and experimenting with materials was a sacred part of art making to Di Meo; frottage, assemblage, bronze, and plastic wood were important tools and techniques.
Dismayed by the fact that Di Meo had never visited his ancestral lands, Leon Golub organized a group of collectors to pitch in and send him to Italy in 1961–63.
“Tàpies knocked me out with his thick paint and vinyl,” says Di Meo. “Redon was a big influence, as were the American primitives, like Morris Hirshfield, as well as Eldzier Cortor and Julio de Diego, two earlier Chicagoans who used areas of relief in their paintings.”
Di Meo settled in New York in 1969, where innovations with transfer took him far from the Monster Roster aesthetic, leaving behind rough-hewn surfaces for thinner, smoother ones using photographic collage elements."(smartmuseum.uchicago.edu)
















Philip Hyde - Landscape Photographer

"Philip Jean Hyde (1921-2006)
Born in San Francisco in 1921, Philip Hyde was a pioneer of the West Coast landscape tradition, he made his first back country fine art landscape photograph in 1942. His photographs helped protect such national treasures as the Grand Canyon, Dinosaur National Monument, Denali, Tongass National Forest, Canyonlands, the Coast Redwoods, Point Reyes, King’s Canyon, the North Cascades, Oregon Cascades, High Sierra Wilderness, Big Sur, the Wind River Range, Islands off Puerto Rico and many others. Philip Hyde trained under Ansel Adams, Edward Weston, Minor White, Imogen Cunningham, Dorothea Lange, Lisette Model and other definers of the medium at the California School of Fine Arts, now the San Francisco Art Institute. Because of the historical significance of his work, a common misconception is that Philip Hyde was a photographer of a bygone era. In reality, he photographed for 58 years until he was 79 years old, into the new millennium. His work was always ahead of its time and went far beyond the classical landscapes for which he is known. His unique photographic vision and novel compositions are widely emulated today. He is generally acknowledged as one of the most influential of all outdoor photographers. Two of his most noted images are his 1964 color conservation icon, “Cathedral In The Desert, Glen Canyon,” that American Photo Magazine named one of the top 100 photographs of the 20th Century and “The Minarets From Tarn Above Lake Ediza,” a vintage black and white photograph, made in what is now the Ansel Adams Wilderness in the Sierra Nevada Mountains. Ansel Adams said that he liked this 1950 photograph of the Minarets better than his own."(lumieregallery.net)



















 

Stanley Boxer - Abstract Painting

Stanley Boxer (1926-May 8, 2000) was an American artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker.
Boxer was born in New York City, and began his formal education after World War II, when he left the Navy and studied at the Art Students League of New York. He drew, painted, made prints, and sculpted. His work was recognized by art critic Clement Greenberg, who categorized him as a color field painter, a designation which Boxer rejected. Art critic Grace Glueck wrote "Never part of a movement or trend, though obviously steeped in the language of Modernism, the abstract painter Stanley Boxer was a superb manipulator of surfaces, intensely bonding texture and color."Wikipedia