April 27 - May 24, 2023
HEIDI NITZE: Work from 1955 - 2002
On the Wall: So Blue So Happy So Cool
Stephen Cimini
Opening Reception: Thursday, April 27 , 2023
Carter Burden Gallery presents two exhibitions: HEIDI NITZE, Work from 1955 – 2002 in the East and West galleries featuring a collection of paintings and drawings by Heidi Nitze and On the Wall: So Blue So Happy So Cool featuring an installation of a large-scale painting by Stephen Cimini. The exhibitions run from April 27 - May 24, 2023, at 548 West 28th Street in New York City. The reception will be on Thursday, April 27 from 6 - 8pm; masks are encouraged. The gallery hours are Tuesday - Friday, 11 a.m. - 5 p.m., Saturday 11 a.m. - 6 p.m.
Exhibition List
HEIDI NITZE: Work from 1955 - 2002
Heidi Nitze presents a career-spanning exhibition of paintings and drawings that encompasses landscape, still life, and abstract works all created between 1955 and 2002. Nitze was entranced by the colors and forms of the farms and forests where she lived as a child; What became her adult creative process was rooted in those early experiences. Her practice for landscapes begins with finding a view that is inherently dynamic, with a far horizon, an active sky, and landforms with an interesting composition of their own. Houses, machinery, and animals are like decorations in a huge tapestry. Her goal is to convey the amazing beauty and variety of the natural world and the complexity of human relationships to it. Nitze says, “The intensity of life and its fragility are what I care about, the vitality of the moment before it disappears. This is why I make art: maybe it will outlast the vanishing moment.”
Heidi Nitze, born in 1934, earned a BA in Art History from Wellesley College, received diplomas from Harvard Divinity School, Center for the Study of World Religion, as well as the School of the Museum of Fine Arts, Boston, with a concentration in Painting and Drawing. She also studied extensively at: American University in Washington, D.C. with a focus in Studio Art, Art History, and Botany; Skowhegan School of Painting and Sculpture in Maine; and the National Academy of Design in New York with a focus on watercolor studies. Nitze is committed to the arts community with memberships and associations with Pratt Institute as a trustee, Boston Museum of Fine Arts as a benefactor and a Textile and Fashion Arts visiting committee member, as well as the American Society of Botanical Artists.
Her work is in private and public collections in the United States and England, including the National Museum of Women in the Arts, Brigham and Women’s Hospital in Boston, New Bingham Area Health Center in Maine, Charles Pratt and Co., LLC, and American Friends of Blérancourt. She has exhibited her pieces in solo and group exhibitions including at the Museum of Contemporary Art in Hot Springs, AR; Blue Mountain Gallery in New York; ArtExpo New York; Red Dot Art Fair Miami; Gallery 668 in New York; Wingspread Gallery in Maine; Nexus Gallery in Boston; among others.
Stephen Cimini
Stephen Cimini presents the installation On the Wall: So Blue So Happy So Cool, a four paneled eighty-eight-inch-wide painting in vibrant blue hues, which runs from April 27 to August 30, 2023. Building on architectural influences, which have been the basis for his inspiration since the mid-90s, Cimini’s work has evolved by creating a balanced combination of geometric shapes. With no discernible pattern, the work allows for a pleasing, meditative composition to emerge. He elaborates, “I refer to this process as random symmetry as I often don’t know where I am going until I get there. My impulsive color choices are fueled by intuition and experience. In this case, after a long battle the blues won.”
Originally from the small town of Williamsport, Pennsylvania, Cimini first studied fine art at the San Francisco Art Institute and eventually moved back east to study at the School of Visual Arts in New York City. He wrestled with various art forms from wood constructed sculpture to conceptual environments before landing on abstract painting, something he loved from an early age. In 1994, he began developing the vocabulary for his current work, which originates from the linear landscape of Manhattan. It has since mutated to geometric spaces and their relationships to each other while still adhering to its architectural origins. His fascination with the mystery of color is also a vital aspect of his work.
Installation Views
