March 21 – April 17, 2019
BEING STILL/STILL BEING: Etta Ehrlich and Alan Neider
LOW TIDE ART: Ira Pearlstein; Curated by Elisabeth Jacobsen
On the Wall: Karin Bruckner
Opening Reception: Thursday, March 21, 6 - 8PM
Carter Burden Gallery presents three new exhibitions: BEING STILL/STILL BEING in the East Gallery featuring Etta B. Ehrlich and Alan Neider; LOW TIDE ART in the West gallery featuring Ira Pearlstein curated by Elisabeth Jacobsen; and On the Wall featuring Karin Bruckner. The reception will be held March 21st, 2019 from 6 - 8 p.m. The exhibition runs from March 21 through April 17, 2019 at 548 West 28thStreet in New York City. The gallery hours are Tuesday - Friday, 11 a.m. - 5 p.m., Saturday 11 a.m. - 6 p.m.
In the experimental space On the Wall printmaker Karin Bruckner presents the interactive installation The Art Of Letting Go. Occupying both East and West walls Bruckner creates a reflective and interactive space. She explains, “The viewer is invited to witness and experience the process of inner revolution to temporary resolution which ultimately can lead to reinvention through repurposing.” On the West Wall the piece InARollrepresents a three dimensional concept of colorful movement, wrapping things up, and moving on. The tubes hold memories and promises with hidden secrets, invisible to the eye and full of possibilities. The East Wall is dedicated to a two dimensional concept of stasis, largely dark and monochromatic. It represents the stage of coming to terms with an untenable situation; recognition, deliberation and brooding stillness. This modular piece takes its narrative from a German saying “Abwarten und Tee trinken” (literally: “Wait and drink tea”), which invites us to deliberately exercise patience, to wait for the things to resolve on their own or to wait for the appropriate moment to make a change. Hence this triptych bears the title WaitandTea.
In her first exhibition with Carter Burden Gallery Dr. Etta B. Ehrlich presents antique glass bottles enriched with stenciled text in BEING STILL/STILL BEING. Ehrlich fills these vessels with meaning by adding text such as, “I am a small strange expression of eternity” and “I want to live without regrets”. As a Psychologist and Meditation Teacher, she presents each phrase as an intention. The bottles are symbolic impression of the viewer, who imbues each sculpture with their own experience. In her book “Meditation Art” Elrich explains, “...these compelling works of art provide tools for reflection, insight and spiritual development. They are an invitation to awareness, asking us if we are truly who we appear to be to ourselves.”
Artist Alan Neider presents selections from his series’ Bag Paintings, Loops, and For EM in his first exhibition with Carter Burden Gallery BEING STILL/STILL BEING. Wildly energetic and radiating with color, his large scale, sculptural paintings are sewn, painted, sprayed, stained, cut and constructed. The Bag Paintingsexamine and are inspired by fashion and glamor, whileFor EM is a tribute to artist Elizabeth Murray; all commanding the white walls of the gallery with diverse surfaces. Neider says, “My work has always been about painting. I built out from the surface of my first paintings because the forms needed to come out into space... I create/build difficult and challenging surfaces to paint. I believe these surfaces in conjunction with the inherent textures wood, fabric, ceramics lead to a richer, complex experience.”
Ira Pearlstein presents found object sculptures in his first exhibition with Carter Burden Gallery LOW TIDE ART. “A dump is a treasure trove for someone like me”, the artist reveals as his haul slowly expands. He finds his supplies in the streets and on the sidewalks, at a local salvage yard, and at low tide at either end of Flatbush Avenue, or in the city’s waterways. The often time worn, rusty materials are, in the artists eyes, waiting to be put together, taken apart and put together again in different configurations. Curated by sculptor Elisabeth Jacobsen, the works in the exhibition blur the line between representation and abstraction. Pearlstein discloses, ”I’m excited to be re-using this mélange of New York’s cast-offs to create works which please me as I hope they do others. This is the extent of my eco/environmental pitch.”