Carrie Haddad Gallery

Betsy Weis (Photography) Summer Lilies, 2006 20" X 30" $1,700.00 archival inkjet print on watercolor paper (Also available with 27 x 37 inches in white frame with white mat & AR non-glare glass, $2,000) Image: 20 x 30 inches Paper: 24 x 36 inches Photographed in Wellfleet in Cape Cod, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Betsy Weis (Photography) Dusk Lilies, 2006 20" X 30" archival inkjet print on watercolor paper 27 x 37 inches in white frame with white mat & AR non-glare glass Image: 20 x 30 inche...

Betsy Weis (Photography) Lily Pond, 2006 20" X 30" archival pigment print on watercolor paper (Also available 27 x 37 inches in white frame with white mat & AR non-glare glass, $2,...

Contemporary aerial photograph of industrial quarry field Archival digital print, Edition of 25 (#267) Image size 19.3 x 29 inches with 2 inch border $2000 Image size 26 x 39 inches...

Contemporary aerial photograph of Iceland landscape archival digital print, edition of 25 Image size 19.3 x 29 inches with 2 inch border $2000 Image size 26 x 39 inches with 2 inch...

Archival digital print, Edition of 25 (#013) Image size 23.5 x 29 inches with 2 inch border $2000 Image size 31 x 39 inches with 2 inch border $3200 Image size 38.5 x 48 inches with ...

18 x 12 inches 24.25 x 18.25 in. framed ($950 price includes frame) John Griebsch learned how to fly an airplane when he was just fourteen years old. Since then he has combined his ...

Modern landscape oil painting reminiscent of Hudson River School painters oil on canvas 48 x 48 inches Romantic (yet modern) Hudson River oil landscape painting of rolling, hilly fa...

Archival digital print, Edition of 25 (#360) Image size 19.3 x 29 inches with 2 inch border $2000 Image size 26 x 39 inches with 2 inch border $3200 Image size 32 x 48 inches with 2 ...

Archival digital print, Edition of 25 (#358) Image size 19.3 x 29 inches with 2 inch border $2000 Image size 26 x 39 inches with 2 inch border $3200 Image size 32 x 48 inches with...

Archival digital print, edition of 25 (#200) Image size 23.5 x 29 inches with 2 inch border $2000 Image size 31 x 39 inches with 2 inch border $3200 Image size 38.5 x 48 inches with 2 inch border $4500 The aerial photographs of pilot and photographer John Griebsch capture natural and man-made landforms from a bird's-eye view and turn them into art. Employing his mature and professional sense of composition, gained from a photography career that began at the age of 12, Griebsch here photographs the offloading gantry for a paper mill...

Archival digital print, Edition of 25 (#259) Image size 19.3 x 29 inches with 2 inch border $2000 Image size 26 x 39 inches with 2 inch border $3200 Image size 32 x 48 inches with...

Archival digital print, edition of 25 (#161) Image size 19.3 x 29 inches with 2 inch border $2000 Image size 26 x 39 inches with 2 inch border $3200 Image size 32 x 48 inches wi...

Archival digital print, edition of 25 (#256) 26 x 39 inches unframed 36 x 48 inch inches in simple black frame, 8-ply mat & AR non glare glass John Griebsch learned how to fly an ai...

Archival digital print, edition of 25 23.5 x 29 inch image with 2 inch border, unframed *additional sizes available are listed in the detail section John Griebsch learned how to fly...

graphite on paper in vintage wood frame with gold detail 8 x 20.5 inches unframed 12 x 24.5 x 2 inches framed This contemporary, horizontal, black & white graphite work on paper w...

Watercolor on archival paper 23 x 17 inches in white-painted custom wood frame with 8ply mat 19 x 13 inches unframed This whimsical watercolor drawing on archival paper was made by the creative duo Nicholas Kahn & Richard Selesnick as part of their series "Madame Lulu's Book of Fate", wherein the artists celebrate the carnivalesque with a cast of peculiar costumed characters. In this illustration, a cluster of sienna-colored buildings are stacked in the shape of a human figure. Surrounded by a spring-green landscape and bearing flowers--a pale yellow sunflower in one hand, and a bouquet in the others--the figure appears gentle despite its colossal size. The artists' highly stylized approach adds an almost vintage...

Unique chromoskedasic monoprint mounted on aluminum 40 x 25 inches Signed on reverse This contemporary, abstract style chromoskedasic monoprint was created by experimental photograp...

Unique chromoskedasic monoprint mounted on aluminum 40 x 25 inches Signed on reverse This contemporary, abstract style chromoskedasic monoprint was created by experimental photograp...

oil on canvas blue, green, with pink accents abstract painting in thin white wooden frame abstract painting, gestural abstract painting, abstract painting with brush strokes, b...

Unique chromoskedasic monoprint on photographic paper 22 x 18 inches framed This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer Birgi...

24 x 24 inches oil paint and sand on canvas This contemporary, abstract oil painting in graphic black, white, grey & red was completed by Vermont based artist, Paul Katz, in 2015. S...

8 x 8 inches oil paint and sand on canvas This contemporary, abstract oil painting in graphic black, white, grey & red was completed by Vermont based artist, Paul Katz, in 2016. St...

8 x 8 inches oil paint on wood panel This contemporary, abstract oil painting in graphic black, white, & red was completed by Vermont based artist, Paul Katz, in 2016. Studying li...

Archival digital print, edition of 25 (#274) 26 x 39 inches unframed 36 x 48 inch inches in simple black frame, 8-ply mat & AR non glare glass John Griebsch learned how to fly an ai...

10 x 10 inch image on 11 x 17 inch paper, $900 unframed All editions are printed on Hahnemuhle Photo Rag Matte Paper with Epson archival quality inks available in editions of 25 in...

10 x 10 inch image on 11 x 17 inch paper, $900 unframed All editions are printed on Hahnemuhle Photo Rag Matte Paper with Epson archival quality inks available in editions of 25 in...

5" X 30" X 1", six panels, each panel is 5 x 5 x 1 inches each acrylic on panel monochromatic painting, multi-panel abstract painting, grid, small panel painting, green and blue ...

16 x 23 inches $2,500 oil on canvas Modern, horizontal landscape oil painting of a statue of the Lady of Guadalupe on a high mountain in Colombia. The oil painting is very color...

49 x 79 inches framed, thin black painted wood frame 48.5 x 77.5 inches unframed oil on canvas $9,000 Modern, horizontal landscape oil painting of a large volcano, Cotopaxi, in...

11 x 25 inches oil on canvas, unframed (thin wood stripping only) Cotopaxi is the highest active volcano in the world located south of Quito in Ecuador. This very contemporary ...

Contemporary landscape painting of Monserrate in South America, neutral palette with light white mist over a dark green mountain 36 x 60 inches oil on canvas, unframed (thin wood stripping only) Painting is wired on the back for installation Magnificent contemporary landscape painting of "Monserrate", a mountain near Bogota in Columbia that rises 3.152 meters above sea level. All downtown Bogotá, south Bogotá and some sections of the north of the city are visible facing west, making it a popular destination for watching the sun set over the city. Bill Sullivan expertly paints wispy clouds that settle down around the mountain's peak. About the work by John Ashbery: With only a tinge of irony, Bill Sullivan makes new the vast spaces and swooning optimism of nineteeth-century Luminist painting. Reaffirming the contemplation of nature as its own reward, he also sets new tasks for painting and undertakes them with compelling eagerness. While there has been a tendency among some contemporary artists to present a revisionist view of the "great outdoors" of nineteenth-century landscape painters, Sullivan has no satirical agenda. After spending several years in South America amid the landscapes that attracted Frederic Edwin Church and Martin Heade, among others, he refined and strengthened this awesome imagery after returning to New York. A certain surreality floats though these vaporous visions of Columbia, though this may just be the result of Sullivan's careful documentation of scenes that looked unreal to begin with. About the Artist: Sullivan attended Silvermine College and earned an M.F.A. from The University of Pennsylvania, where he studied with Fairfield Porter, Neil Welliver, Jane Freilicher, John Button and Rudy Burckhardt. He also studied privately with Josef and Annie Albers. In the late 1960s, Sullivan joined Bowery Gallery, an artist-run gallery that was dedicatedto figurative art. Later, when the Alliance of Figurative Artists was starting, Sullivan organized weekly panels and discussions at The Educational Alliance. Sullivan's first solo show at Bowery Gallery in 1970 included paintings depicting people, New York cityscapes and still lifes. After this show, Sullivan developed an interest in landscape painting. New York City, the Hudson River and Manhattan's West Side highway became his main subjects. He had several shows of these paintings at Bowery Gallery and continued to paint the Hudson River until the end of his life. At one of these shows he met art collector G. W. Einstein, who became his friend and represented him for many years. Sullivan had his first solo show at G. W. Einstein Company in 1978. In 1977, Sullivan met Colombian writer Jaime Manrique; they traveled to Colombia, where Bill painted the places that Frederick Edwin Church and Martin Johnson Heade had painted in the 1850s. In Colombia he had a solo show in the Bogotá Museum of Modern Art in 1978. The years following his return from South America was the period when Sullivan's work was most in display in New York City. Sullivan remained in New York City until 2001 where he had several solo shows. In 2002, he settled in Hudson, New York, where his two nineteenth-century heroes, Frederick Church and Sanford Robinson Gifford, had lived. He painted many of the sites Church and Gifford rendered on canvas. Resume: 2009 Carrie Haddad Gallery, Hudson, NY 2008 BCB Gallery, Hudson, NY 2007 BCB Gallery, Hudson, NY 2006 The Autobiography of Bill Sullivan: A Landscape Retrospective, The Albany Institute of History and Art, Albany, NY 2005 Roxbury Art Group, Roxbury, NY Hudson River Views, Bonnie Andretta Fine Arts, Hudson, NY 2004 Indelible, Gallery 2/20, New York, NY Workshop Exhibition, Dannette Koke Fine Art, New York, NY 2003 The Gallery at The St. Charles, Hudson, NY Paintings of South America, Hudson, NY Painted City, Carrie Haddad Gallery, Hudson, NY Juried Art Show, Columbian Council on the Arts, Hudson, NY Made In Hudson, Artwalk, Hudson, NY 2002 Musselman Gallery, Hudson, NY 2001 HHA Gallery, Riverdale, NY The Landscape That Changed America, The Albany Institute of History and Art, Albany, NY 1999 Silas-Kenyon Gallery, Provincetown, MA Greenwoods and Crystal Waters: The American Landscape Tradition, Philbrook Museum of Art, Tulsa, OK 1998 Suitcase Will Travel, Conductor’s Gallery, London, UK 1997 House/Scene, Kunsthaus, Hamburg, Germany Selected Prints, Atrium Gallery, Long Island City, NY Contemporary Selections, Albany Institute of History and Art, Albany, NY 1996 Uptown Gallery, New York, NY Eight Realists: Realism Then and Now, K & E Gallery, New York, NY Recent Acquisitions, Albany Institute of History and Art, Albany, NY Pencilvanians Drawn to New York, Pennsylvania Alumni Exhibition, Roger Smith Gallery, New York, NY New Acquisitions, Museum of the City of New York, New York, NY 1995 Five Aspects of American Landscape Painting, Creiger Dane Gallery, Boston, MA New York City Views, Owen Gallery, New York, NY Increased Visibility, Leslie-Lohman Gallery, New York, NY American Realism, Gallery Bijutsu Sekai, Tokyo, Japan Group Show, G.W. Einstein Co., New York, NY 1994 25th Anniversary Exhibition, Bowery Gallery, New York, NY Pride in Our Diversity, 24 Hours for Life Gallery, New York, NY Paint Props and Process, Castle Gallery, College of New Rochelle, New Rochelle, NY 1993 Celebration, G.W. Einstein Co, Inc., New York, NY Far Away Places Artists Who Travel, SSC&B Lintas Worldwide, New York, NY Group Show, John Szoke Gallery, New York, NY Art & Fantasy, Amos Eno Gallery and The Puck Building, New York, NY Organization of Independent Artists Benefit, Brook Alexander Gallery, New York, NY 19th & 20th Century Works of Art, Friends of OLANA Benefit, Hudson, NY 1992 New York Icons, Michael Ingbar Gallery, New York, NY Group Show, John Szoke Gallery, New York, NY Shanti Foundation Benefit Exhibition, Tatistcheff Gallery, Santa Monica, CA Contemporary American Landscape, World Art Collection in conjunction with Quatre Pieces Gallery, Yokohoma, Japan The Scarf, Bergdorf Goodman, New York, NY 1991 Urban Icons, Klarfeld Perry Gallery, New York, NY City Edge of Night, The Muckenthaler Cultural Center, Fullerton, CA Spirit of Place Dada Gallery, Fukuoka, Japan Group Show, Tatistchieff, Santa Monica, CA Group Show, John Szoke Gallery, New York, NY American Images, Crane Art Gallery, Tokyo, Japan; World Art Collection, Yokohama, Japan; Daimon Art Gallery, Sapparo, Japan; Beersheba Gallery, Osaka, Japan 1990 Susan Schreiber Gallery, New York, NY Tatistcheff Gallery, Santa Monica, CA Invitational Exhibition, American Academy of Arts and Letters, New York, NY Plein Air Painting: Capturing the Moment, Tatistcheff Gallery, Santa Monica, CA Land/Sea/Air, Steven Scott Gallery, Baltimore, MD Penn Prints: 30 Years of Printmaking at the University of Pennsylvania, Arthur Ross Gallery, University of Pennsylvania, Philadelphia, PA A Little Night Music...

11.25 x 11.25 inches unframed Archival pigment print edition of 12 Some of David Halliday's most engaging works are those from his Box Series in which he merges traditional ideas about light and composition with contemporary experiments. In this series an empty cookie tin becomes a tiny studio for food objects. Halliday carefully styles his photographic subjects inside and, allowing only natural light to seep in through a circular window. The results feel less like still lifes and more like intimate portraits of human sustenance. In these photographs, the fleshy curves of a fig, the slick bodies of sardines, even the homeliest porcini mushrooms possess a degree of nobility, providing a refreshing contrast to the compulsive relationship we so often have with food, reminding us to slow down and savor with gratitude. In this particular image, a bunch of radishes with their deep pink skins are are gently brushed with the natural diffused light, echoing techniques associated with a Vermeer painting! About the work: The Past Still Present: A master of light, New Orleans photographer David Halliday produces lush and elegant images that are both classical and modern. Using window...

11.25 x 11.25 inches unframed Archival pigment print edition of 12 Some of David Halliday's most engaging works are those from his Box Series in which he merges traditional ideas about light and composition with contemporary experiments. In this series an empty cookie tin becomes a tiny studio for food objects. Halliday carefully styles his photographic subjects inside and, allowing only natural light to seep in through a circular window. The results feel less like still lifes and more like intimate portraits of human sustenance. In these photographs, the fleshy curves of a fig, the slick bodies of sardines, even the homeliest porcini mushrooms possess a degree of nobility, providing a refreshing contrast to the compulsive relationship we so often have with food, reminding us to slow down and savor with gratitude. In this particular image, the waxy texture of a solid hunk of salty parmesan cheese and its crumbles is gently brushed with the natural diffused light, echoing techniques associated with a Vermeer painting! About the work: The Past Still Present: A master of light, New Orleans photographer David Halliday produces lush and elegant images that are both classical and modern. Using window...

oil on linen on panel 23.5 x 13 inches This modern cityscape oil painting was completed on linen and mounted on panel. Painted in a realistic style, the scene is of Brooklyn roofto...

archival pigment print, edition of 10 white washed wood frame, 33 x 41 inches framed still life photography, formalism, formalist photography, red black white, modern still life,...

sepia toned silver gelatin print, edition 8 of 25 8 x 8 inches unframed, $1000 including frame sepia photography, still life, furniture still lif...

All editions are printed on Hahnemuhle Photo Rag Matte Paper with Epson archival quality inks Contemporary close-up view of a cream colored rose with on a crisp black background. P...

Joe Wheaton Conscience Lurked, 2019 58" x 11" x 4" oxidized brass Joe Wheaton’s unique sculptural designs welded from dark, oxidized brass or brilliant silver steel showcase a contradictory set of relationships; “beautiful yet menacing, “threatening yet delicate” as described by the artist. Wheaton builds his metal compositions using a language of strokes and patterns. Geometric spears, disks and quadrangles alternate with wispy, sharp edged lines that trail off quietly to an undefined point. This visual sweep can be likened to the art of calligraphy, echoing the artist’s interest in early Asian arts and ceramics, as well as printmaking. This exhibit will include several of Wheaton’s large and small wall...