Exhibitions
2005
 
                               
March 5
 
 
                 
  March 12 at Casola Gallery  
                 
       
       
                         
                                 
  WILLIAM MAXWELL FINE ARTS will feature a sculptural installation in our sculpture garden entitled "GENESIS" by Lori Nozick, and in our gallery, Marcy B. Freedman will present a multimedia installation entitled "ALL OVER THE PLACE," and "MONEY!" a performance piece under a tent in our parking lot. (Last year's Peekskill Project 2004 "Road Tattoo" by Steed Taylor is still on view in the parking lot, which memorializes the artists of MAXWELL FINE ARTS.) The gallery and sculpture garden exhibitions for "The Peekskill Project 2005 @ MAXWELL FINE ARTS" will continue through November 20th. Marcy B. Freedman's performance "MONEY!" will be presented at 4 pm (sharp) on Saturday, October 15th with a reception to follow. (A brief description of these artists and their artwork is included on a separate page. Jpeg images are available upon request.)  
MFA@121 (WILLIAM MAXWELL FINE ARTS at 121 Restaurant) , located on the corner of Dingle Ridge Road and Route 121 in North Salem, New York, will continue featuring "Artist Portraits" by Don Keene through September, and will open with a photography exhibit by Howard Goodman entitled "Rock Spoons Water," on October 1, 2005 (a public reception for the artist at 121 Restaurant is scheduled for October 1, 2-5 PM). 
WILLIAMMAXWELL FINE ARTS is a commercial gallery located in and around a renovated Victorian carriage house, c.1860, in the artist and historic district of Peekskill, New York with a satellite gallery at 121 Restaurant in North Salem, New York (MFA@121). Both of these exhibition spaces presents unique and original works of contemporary art by emerging and established artists. The gallery maintains an ongoing series of paper works by MFA artists; the public is invited to sift through these art works in our flat files at anytime. All exhibitions are curated by Bill Maxwell, Dana DeVito and invited guest
curators.
 
 
           
     
 

Summer 2005 exhibition, “BOXES AND FOXES:  Surface & Stance”

Life-size figurative cement sculptures of Jo-Ann Brody, and a ceramic sculpture installation by Keiko Ikoma.

MAY 21 TO AUGUST 5, 2005

                
                     
     
 
Jo-Ann Brody, whose studio is in downtown Peekskill, and Keiko Ikoma, whose home and studio is in Nishijin, a neighborhood of Kyoto, Japan have an unusual colleagueship.  About 4 years ago, the city planners of both Peekskill and Nishijin joined in declaring their communities “sister cities.”  Ralph DiBart, creator of Peekskill’s Artist District and Sano-San, a Buddhist priest along with graphic artist Kagami-San and photographer Kohi-San, saw in these two distant cities close parallels and affinities.  Both cities contained a core of historic and unused buildings and homes, both identified themselves with rapid contemporary growth and community diversity, both were interested in attracting and keeping creative people to live and work in their cities, and both are now consistently attracting an influx of artists that have dynamically aided in community progress and rehabilitation.  Both cities are unique communities in process with art at their centers. One result of this relationship has been a preliminary exchange of artists.  Keiko came to Peekskill in the Fall of 1999, experiencing an extended residency that culminated in an exhibition at Gallerie JJENTH in Peekskill.  Keiko then invited Jo-Ann, along with Lisa Breznak, another Peekskill ceramic artist, to Network Nishijin.  Jo-Ann and Lisa gathered enough funding from the Peekskill Artist District to maintain a studio and residence in Nishijin for three weeks.  Seeing Japan as a Mecca for clay artists, Jo-Ann was thrilled with her visits to temples, shrines, galleries, museums, and most importantly, artist studios.  Keiko introduced her to the ceramic mysteries and traditions of Japan while Jo-Ann found in the work and temperament of their Eastern counterparts references that could be employed in her Western interpretations of the “earth mother.”  Brody located a universal sensing of what this image of “woman” was by visiting Japan, while Keiko better located her ideas of how ceramic sculpture functioned in the society of the West.  This cross-fertilization and cultural exchange were essential ingredients to future creativity of both these artists.  Bringing them together once again and displaying their work simultaneously at MAXWELL FINE ARTS in Peekskill is a tribute to this cultural exchange, to their creative friendship, and to their global artistry.