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Ann Chernow
Ann Chernow, Trouble, 2016, pencil, whiteout, sandpaper on rag paper, framed
2016

Name: Ann Chernow, Trouble, 2016, pencil, whiteout, sandpaper on rag paper, framed
Brand: Ann Chernow
Price: 5284.22 CHF
Availability: InStock
Rating: 5 (13 reviews)

$6,500

£4,924.98

€5,651.03

CA$9,146.55

A$10,054.57

CHF 5,284.22

MX$122,099.15

NOK 65,919.35

SEK 62,453.95

DKK 42,175.05

About the Item

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia as points of departure and then freely reinterpret without altering the spirit of the past cinematic information. She tries to create a sense of déjà vu or nostalgia without the sentimentality often associated with specific 'star' references. The content is historical, the intent is to make the image universal. Depicting a common gesture and establishing dramatic moments are paramount. Once experienced, a movie is never totally forgotten. Memories from films are channels, metaphor and private reverie through which Chernow addresses the human condition. Her inspiration is film noir (literally, “black film”) movies of the 1940s –crime dramas and psychological thrillers exposing the dark side of human nature and the randomness of fate. Filmed in a stark visual style in black and white, these noir movies feature long-suffering “good girls,” who find themselves victims of unsolicited, often dangerous circumstances beyond their control, and femme fatales, seductive “bad girls” willing to go to almost any length to get what they want. These characters first came to the public by way of pulp fiction, both in literature and cover illustration. The subversive is present in all of us. Ann Chernow was born and brought up in New York, and experienced much of the New York art world of the 1950’s and l960’s. She has since created a personal, defining body of work with media skill, emotional impact and aesthetic significance -- a genre that is recognized as unique: moments of suspended reality based on material from all aspects of American movies from the l930s and l940s, but totally reinvented in her own vocabulary. Chernow’s work has been exhibited at many galleries around the globe: ODETTA in Brooklyn, New York, Hubert Gallery in New York City, the International Print Center in New York City, the Brooklyn Museum, Brooklyn, New York, the Lessedra Gallery in Sophia, Bulgaria, The Tel Aviv Museum.,The Albert Merola Gallery in Provincetown, Massachusetts, Elizabeth Adams PMW Gallery in Stamford, Connecticut, Dorothy Rogers Fine Art in Sante Fe, New Mexico, The Silvermine Center in Connecticut, The College of the National University of Taiwan, The Chinese Association for Friendship with Foreign Countries in Yangzhou, China, Galerie Matarasso in Nice, France and other international venues. Public Collections include the Metropolitan Museum of Art, Yale University, the Museums of San Francisco and many others. The Gabor Peterdi International Print Collection housed at the Silvermine Center for the Arts in Connecticut has recently acquired an archive of 388 original prints by Chernow. The Housatonic Museum of Art in Connecticut and the Westport Arts Center in Connecticut recently mounted major exhibitions of her "Noir" work. A documentary by Martin West is being filmed about Ann’s life and work. She co-stars in a recent film by Manny Kirchheimer: "Art is... the Permanent Revolution. Selected Public Collections: Metropolitan Museum of Art; The Brooklyn Museum; DeCordova Museum; Elvehjem Museum of Art; The National Academy of Design; Museum of the City of New York; Zimmerli Museum; The Portland Museum; The Tel Aviv Museum; The Achenbach Foundation; Yale University Art Gallery; National Museum of Women in the Arts; The United Nations, The New York Public Library Print Collection; The Oakland Museum of Art; The Housatonic Museum; Museum of Alaska North; Sacred Heart University Art Collection; The Toledo Museum; The San Diego Museum of Art; The Museum of the City of New York: Silvermine Center Permanent Print Collection; Fairfield University; Wheaton College; Library of Congress, many others. Selected Related Experience: Elected Member, lecturer and instructor of drawing at the National Academy of Design, NYC; Yale University, Art and Learning Program; Connecticut Humanities Scholar; Guest Lecturer and visiting artist throughout the USA and Europe, Creative Director: “A Gathering of Glory” and “Years in the Making” documentaries; 2000 and 2009: Member: New York Society of Etchers, American Print Alliance; Boston Printmakers, Los Angeles Printmakers, California Society of Printmakers, visiting artist, Studio Cerqueux, France; Professor Emerita, State of Connecticut Community Colleges: Who’s Who in American Art; Who’s Who in America. M.A. with honors, New York University. Commissioned 2015 to make print images for promoting new Indie film(imaginaut Films) in Los Angeles. Subject of film by Manny Kirchheimer: Art Is....The Permanent Revolution. Subject of upcoming documentary by Martin West. List of Captions for Noir 1 Lithographs NOIR LITHOGRAPHS AND THEIR CAPTIONS 1- DETOUR: "Why are we going this way? "Better scenery" 2- FOLLOW ME: "How did you get past the 'no visitors' sign? "I never noticed it." 3- TROUBLE: "If you want fresh air, don't look for it in this town." 4- SEE NO EVIL: "I was born when you kissed me, I died when you left me, I lived a few weeks while you loved me." 5- CLEAN BEDS: "You call this dump a hotel?" "That's what the sign says, fresh sheets every day." "How often do they change the fleas?" 6- MOONLIGHT: "I can be framed easier than Whistler's Mother." 7- LAURA WALKING: It's lavish, but I call it home." 8- IDA, SWEET AS APPLE CIDER: "Men like to see women cry. It makes them feel superior. " 9- A FOGGY DAY: "Sure I'm meeting somebody, just anybody handy as long as he's a man." 10- ALL CHOKED UP: " I did something wrong , once." 11- THE SHADOW: "Doesn't it ever enter a man's head that a woman can do without him? 12- FALLEN ANGELS: "You don't seem very sorry." "I am sorry. Sorry that I was caught." 13- A BIRD IN THE BUSH: "I go where I want to, with anybody I want. I'm that kind of girl." 14- MONA LISA: " I wouldn't give ya the skin off a grape." 15- RENDEZVOUS IN BLACK: "The moment they met it was murder!"

Creator:
Ann Chernow (1936, American)
Creation Year:
2016
Dimensions:
Height: 32 in (81.28 cm)Width: 38 in (96.52 cm)
Medium:
Vinyl,Rag Paper,Pencil
Movement & Style:
Feminist
Period:
2010-
Condition:
This drawing is signed and framed.
Gallery Location:
Darien, CT
Reference Number:
1stDibs: LU17224147642

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

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