NEWS

ARC Fine Art

May 1 - May 31, 2019

ALYSE ROSNER: Regeneration

Essay by Jacquelyn Gleisner

In the back corner of Alyse Rosner’s studio, a pile of sycamore leaves rest on top of a gray flat file. The raised veins inside each arm of these massive leaves—the biggest of any native tree in North America—connect at one central point at their base. Stacked and dried as a group inside Rosner’s studio, these remnants of her process have curled upward forming an olive and brown saucer with many papery layers. Rosner scavenges her front yard in Westport, Connecticut for these leaves—most plentiful in late summer and early autumn. When her collection has been amassed and new paintings are waiting to be started, Rosner spends a full day, sometimes longer, making graphite rubbings onto raw canvas. She also carefully transfers other naturally occurring surfaces such as the top of roughly-hewn stump only steps from the back door to her studio. From these textures, Rosner builds her luminous paintings, working in a steady, additive process.

These shimmery graphite markings have formed the underpinnings of Rosner’s paintings for over a decade. Around 2006, Rosner intuitively made a rubbing of one of her highly textured miniature paintings on raw pine. Later, she used this facsimile as the springboard for another work. Rosner’s current palette of frottaged textures—sycamore leaves, the tree stump, and the grain from the wooden planks on her deck—each, in their unique way, reference a parallel notion of regeneration. The leaves return, the stump eventually sinks into its soil, and the felled tree is planed for reuse.

Likewise, Rosner’s paintings elicit the sensation of revival. While her materials are those closest to her home coupled with the most accessible ones for artists—paint, canvas, and graphite—Rosner’s fulsome process springs from a restricted and personal artistic vocabulary of rubbings, stains, lines, dashes, shapes, and formerly, sprays of minuscule dots. Rosner repetitively layers these different marks until they have crystallized into references beyond themselves, more often abstract and poetic than concrete and literal.

Her paintings evoke a feeling of lightness—both the quality of being nimble and the state of illumination. Employing hues on the opposing side of the artist’s twelve-step color wheel such as orange and blue or violet and yellow, Rosner draws attention to the spectrum of light as it zips across color. Polarity creates space within the paintings. Diaphanous webs of lines hover above the murky pools of the pigment-soaked canvas. Vertical drips streaking the canvas simultaneously emphasize the pull of gravity and the fluidity of Rosner’s paint. The locus of multi-directional lines recall the woven surfaces of textiles, particularly those set aloft such as the sails of a ship.

Though Rosner’s linear networks never fully encompass her compositions, they nonetheless convey the phenomenon of interconnectivity, the overwhelming yet necessary quality needed to meet the contemporary pace of our lives. All aspects of her paintings appear to be in constant communication with one another. A series of phthalo green slashes of paint balance the loose, wide waves of watery crimson. A purple zigzag hinges on top of a lemony backdrop. As Rosner works, each new step responds to her previous move. This contrapposto process always originates with a spark—some former trace of itself—never from nothing.

Jacquelyn Gleisner is an artist, writer, educator and the creator of Connecticut Art Review. Her writings have been published in the Art21 online magazine, Hyperallergic, and Art New England magazine among others.

Regeneration Essay by Jacquelyn Gleisner pdf
ARC Press Release 2019 pdf
ALYSE ROSNER: Regeneration

The Clemente Soto Velez Cultural and Educational Center

May 3–5, and 8–12, 2019

Among Friends

The Clemente Soto Velez Cultural and Educational Center, Among Friends, organized by Alexandra Rutsch Brock, Beth Dary and Patricia Fabricant, LES, New York

Among Friends Press Release 2019 pdf
Among Friends

Mark W. Potter Gallery at The Taft School

January 10 - February 20, 2019

Time Release

Time Release presents an ongoing body of work arising out of direct graphite rubbings of wood grain, fallen leaves and a chain-sawed tree stump. I immerse these markings in trailing lines, stained and blooming washes of acrylic color, gestural and geometric forms, and obsessive mark making on raw canvas.

Similar to fossils, the rubbings capture the impression of a living entity captured at a single moment. Taken from my immediate surroundings, they reflect my identity and personal history, while at the same time harboring more universal concerns. It is significant that the natural impression of wood grain is derived from pressure treated wood from the deck behind my kitchen, infused with chemicals formulated to defy nature. The enormous leaves are real, found growing on a Sycamore tree in my front yard. The Oak tree stump sits outside my studio door, gradually transforming and deteriorating.

I focus on generating vocabulary that is specific to me. That process involves fully exploring the mark making, defining and redefining. It is unavoidable that personal narrative seeps in-- intended and unconsciously-- and so the content evoked by form, mark and vivid color incorporates my everyday experience and to some extent, they are autobiographical. At least that is how it reveals itself to me. There is minutia and there are significant events, from monotonous to meditative, the unexpected and otherworldly, that inform and become part of my work.

Alyse Rosner
2019

Time Release Statement pdf
Time Release

RWFA

February 1 – March 17, 2018

Alyse ROSNER: A Little Bit of Time

A Little Bit of Time presents Rosner’s latest fluid acrylic works, created exclusively on raw canvas, as she continues to explore the possibilities of scale in her work. On the unprimed fabric, washes of color bleed and infiltrate each other, intermingled with a multitude of lines evoking textiles, corporal forms and implying a vaporous atmosphere. The dichotomy of large scale paintings, measuring up to 77 x 98 inches, created with intimate focus and detail, is animated by each layer of fluid acrylic paint and ink, applied at varying viscosities—from glittering transparent washes and drips of pigment, to floating opaque blocks and lines. In the language her drafting talents exclaim, these overlays act as focal points and visual references within her uniquely complex compositions: structural elements like the skeletons of ancient beings, only expanded in size and variety. Her underlying signature motif of graphite rubbings from the organic forms she finds near her home and studio has also grown. Now, along with the wood grain of the deck outside her studio, she employs giant leaves of sycamore and paulownia trees and the exposed surface of a shorn tree trunk found in her backyard, imbuing her work with a self-reflective, autobiographical theme, not unlike the Dutch Masters who incorporated mirrored reflections in their compositions. These environmental forms become the template for Rosner’s automatic drawings of natural designs, rendering a synthetic exploitation of gesture, line and color that absorbs and mimics the fragments of nature she employs. Rosner’s respect for the Earth and the environment is the leitmotif of her art (for years she painted on Yupo, a synthetic, resin based “green” archival material). These rubbings are the impetus and point of departure for each painting. Similar to fossils, they capture the impression of a living entity at a single moment. For Alyse Rosner, abstraction is the vehicle that carries her subtext of concern for a waning planet’s ecology.

Rick Wester Fine Art 526 W26th Street #417 New York, NY

February 1 – March 17, 2018

Alyse ROSNER: A Little Bit of Time

Newcomb Art Museum of Tulane

August 24 – December 23, 2017

Unfamiliar Again: Contemporary Women Abstractionists

The artists in this exhibition explore new ways of abstraction based on experimental, process-oriented methods. Intended to defamiliarize common imagery, their practices preclude figurative recognition or easy comprehension.Their methods are nuanced, time-intensive, and often drawn from unlikely sources…

Works by Rachel Beach, Morgan Blair, Amy Ellingson, Brittany Nelson, Alyse Rosner, Barbara Takenanga, Anne Vieux.
Curated by Monica Ramirez-Montagut
Newcomb Art Museum of Tulane New Orleans, LA
August 24 – December 23, 2017

Unfamilar Again catalog pdf

Photo courtesy of Newcomb Art Museum of Tulane; Paintings by Alyse Rosner. Sculpture by Rachel Beach

Unfamiliar Again: Contemporary Women Abstractionists

The Flinn Gallery

December 14 – January 24, 2017

Venus Fly

Becca Lowry, Alyse Rosner and Lauren Mabry Curated by Tracy McKenna

As we enter the dark days of winter, the Flinn Gallery opens Venus Fly, an exhibit exploring colorful new abstract work by female artists. Running from December 14, 2017 through January 24, 2018, the show features the work of Becca Lowry, Lauren Mabry, and Alyse Rosner. Venus Fly highlights exuberant color and an attention to detail by three artists each working in different media: large-scale paintings, mixed media wood carvings, and ceramics. Super fresh and super fly!

Alyse Rosner’s large-scale acrylic paintings begin with graphite rubbings from nature, then are built up in layers of pattern and color to create what she terms “a world that spreads out to every edge. I am interested in toxicity and how we are altering the world.” Highly regarded by fellow artists, the Westport resident participated in the Radius program at the Aldrich Contemporary Art Museum and is the recipient of two Connecticut State grants. She has shown extensively, most recently at the Newcomb Art Museum of Tulane University.

Becca Lowry’s wall-hung wood sculptures are organically shaped carvings, woven and painted in multiple layers to form what the artist describes as “modern interpretations of warrior shields. These pieces are built to protect, each custom-made to safeguard against a particular threat. One will ward off an impending storm, another will scatter demons, a third will hold tight to your heart while you do something ridiculously, recklessly brave. I love that shields operate on both a symbolic and functional level.” Lowry’s work has been shown at VOLTA Art Fair and Governor’s Island and featured in Artforum. Lowry lives and works in Branford, CT.

Philadelphia-based Lauren Mabry states that her ceramics “capture the ephemeral state of glaze when it’s in the process of being poured – neither a solid nor a liquid.” Highly colored and based on a classic cylindrical shape, Mabry’s artworks are paintings in circular form. Mabry won the 2014 Emerging Artist Award from the National Council on Education for Ceramic Arts, received a Pew Fellowship, and has work in several museum collections.

“Exhibiting female artists shouldn’t be considered a political statement in 2017,” states Venus Fly Curator, Tracy McKenna. “Women make up the majority of MFA students and professional artists yet continue to be under-represented in commercial galleries and museums. The Flinn Gallery’s all female volunteer committee seeks to redress that balance by featuring three female artists working in different media but with a shared commitment to material-based abstraction.”

The Flinn Gallery Greenwich, CT

December 14 – January 24, 2017

Venus Fly - The Flinn Gallery  Greenwich, CT

Odetta Gallery

December 15 – December 30, 2017

Excessive Frugality

Excessive Frugality features by-products of the creative process– things that facilitate creation in the studio that artists become attached to and save, separate from their art. I showed stacks of enormous sycamore leaves I used to create the graphite rubbings so intrinsic to my work. Including Jeff Becker, Michele Brody, Airco Caravan, Rob De Oude, Diane Englander, Emily Feinstein, Paz Perlman, Elizabeth Riley, Alyse Rosner, Liz Sweibel. Curated by Ellen Hackl Fagan.

Odetta Gallery 229 Cook Street Brooklyn, NY

Dec 15 – Dec 30, 2017

Excessive Frugality - Odetta Gallery

Chashama

May 30 – June 17, 2017

Bigger, Bolder, Better

Inspired by the Women’s March last January where women gathered in record numbers, the strength in numbers motto is a subtle premise behind "BIGGER, BOLDER, BETTER". The three curators bring together fifteen women artists whose work utilize fragmentation, repetition, distinct use of daily materials, and labor intensive processes. Curated by Jaynie Crimmins, Christina Massey and Etty Yaniv Chashama at 470 Vanderbilt Ave Brooklyn, NY

May 30 – June 17, 2017

Bigger, Bolder, Better

WoArt

June 2017

Alyse Rosner in conversation with Christina Massey on WoArt

WoArt is a blog by artist and curator, Christina Massey…
"Interviews of the female artists that inspire & excite my own creative practice and are active participants breaking the rules, trends and challenging the “norm” of the male dominated Art World."

Alyse’s work literally made my head turn and physically drew me in when I first saw it. I had been in a rush to get somewhere, had wanted to just run through the hall to the elevator, but her work caught the corner of my eye and I was hooked. There is no way to avoid the gorgeous layers, textures and colors of her vibrant abstract works. They are a wonderful combination of painting and drawing, and tease you with a textile quality and feel. In essence, it was love at first sight. Since I’ve had the opportunity to get to meet her and know her work even better, I’m sure you’ll love it as much as I do.

When getting to view your work in person, the layers and rawness of the canvas and materials is exposed, when combined with the clean bright lines and patterns in the paint creates quite the visual contrast. Can you explain and expand a little on that comparison within the work? What does it signify and mean to you?

My work is materials driven — the visual contrast you mention is my response and connection to my tools, surfaces and paints. I am drawn to those qualities that you pointed to – rough adjacent to refined, variations in viscosity. Pushing the absorbency of raw canvas, staining with washes, layering transparent forms or patterns and then combining that with smooth clean opaque color… that is my handwriting.

Read more
WoArt pdf

RWFA

May 11 – July 28, 2017

Tremolo

Featuring works by ten artists employing widely varied mediums, including painting, photography, video and neon. Curated by Carolanna Parlato

Rick Wester Fine Art New York, NY

May 11 – July 28, 2017

Tremolo

Real Art Ways

July 16 – September 11, 2016

Surface Works

Works by Alyse Rosner, Janet Lage, Deborah Dancy, Amy Vensel and Rosa Valado
Curated by David Borawski

Real Art Ways Hartford, CT

July 16 – September 11, 2016

Surface Works

Hearst Galleries

June – September 2016

The Art of Now

An ongoing exhibition in the Hearst Galleries, New York, NY curated by Betty Levin

June – September 2016

The Art of Now

RWFA

March 24 – July 29, 2016

Alyse ROSNER: Recent Paintings

Rick Wester Fine Art New York, NY

March 24 – July 29, 2016

Alyse ROSNER: Recent Paintings

Two Coats of Paint

December 2015

Two Coats of Paint

Miami Art Fair coverage by guest blogger Sharon Louden

December 2015

Two Coats of Paint

Amy Simon Fine Art

September 26 – November 7, 2015

SURFACING: Carolanna Parlato and Alyse Rosner

Amy Simon Fine Art, Westport, CT

September 26 – November 7, 2015

SURFACING: Carolanna Parlato and Alyse Rosner

Fjords Review

September 2015

Fjords Review Womens Edition

Featured Artist
Curated by Heather Zises

September 2015

Fjords Review

365 Artists 365 Days

August 2015

365 Artists 365 Days

On January 1, 2014, Frank Juarez Gallery and Greymatter Gallery launched the 365 Artists 365 Days Project to the world. What started as a way to spotlight contemporary artists daily from across the country blossomed into getting the attention of artists from across the globe such as Germany, Slovenia, Australia, Russia, London, Israel and the United Kingdom.

Alyse Rosner studio view

Briefly describe the work you do.

All of my paintings begin on a lustrous bright white sheet of yupo with graphite rubbing of wood grain from the pressure treated decking behind my kitchen. Both the wood and paper are man made: improved upon. This simultaneously toxic and natural impression is captured on synthetic Japanese paper made of polypropylene—which ironically, is a “green” material. On top of this I create layered biomorphic abstractions composed of accumulated mark making and large areas of transparent and painterly color. I incorporate my surroundings, personal experience and environmental concerns into the work, including the pervasive infiltration of chemicals into our daily lives, by combining organic forms, stringy and obsessive lines, pipes, bony protrusions, then viscous pours, slip trailing of paint and direct graphite rubbings of wood grain. My vocabulary has evolved out of the visual residue of making photographs, prints, ceramic objects and drawings as well as the continuous reprocessing my own paintings as source material. Scale and variation contribute to the evolution and create a structure for decision making. I document the work at regular intervals using an iphone and rework and reenvision the photos using drawing apps. These pictures trace the evolution of the layers of imagery within each painting and also serve as source material as a body of work unfolds.

Tell us about your background and how that has had an influence on your work and on you as an artist. Read more

365artists365days.com
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The Institute Library

December 6 – January 17, 2014

TEMPEST

The Institute Library New Haven, CT

December 6, 2014 – January 17, 2015

The Institute Library

Artspace

November 7, January 31, 2014

CT(un)BOUND: Navigating the Flatfile

Artspace New Haven, CT

November 7, 2014 – January 31, 2015

CT(un)BOUND: Navigating the Flatfile

RWFA

November 7 – December 28, 2013

ALYSE ROSNER: 7 Paintings

Rick Wester Fine Art

November 7 – December 28, 2013

ALYSE ROSNER: 7 Paintings

Art New England

January 2013

Alyse Rosner: Large Scale Work
artSPACE · New Haven, CT · artspacenh.org · Through January 26, 2013
Alyse Rosner: Large Scale Work

Alyse Rosner’s unique color works are hand-drawn and painted in media that include paint, so that one might be tempted to call them paintings—except (and this is a big exception) they are brimming with a printmaker’s doting affection for line. Line is writ large in these mostly massive images hung simply, by magnets. All of these works are engaged in the spirit of line. Each one is a bustling ode to squiggle and edge, demonstrating a wriggling, restless, get-on-with-it urgency; raising a toast to crispness and calligraphic momentum; sounding a clink to delicate slicing and dicing; and a hurrah to bumpy welts and snaky passages.

These are joyous love songs to the matter of paper, too, drawn on an archival “green” material called Yupo (made of polypropylene). It is not paper at all but a material that mimics the creamy translucence of parchment and offers what appears to be a skittery surface for pigment to slide across. Marks skate upon such a stage, skidding across surface in clean trajectories that vary only in their relative momentum.

There is no way to describe these works without accounting for the dynamics of them. Gravity and magnetic attraction play out in shallow layers upon the narrow vertical plane of the picture field. Narrow, blade-like intrusions, striped with white puff-paint that pools in a dollop that marks the start and stop of each margin, reach in from one edge of the paper to the center; crisp dark strands (like fistfuls of electric wire) attach them, like hammock strings, to the other. Linear things pile up from page bottom; yarn-like things hang down. Fat flat rivers of pattern snake up the page; ribbon-like bindings tie the loops together.

These are pictures constructed like stacked architectural drawings, one layer upon the next, each distinguished by the various pigment “delivery systems” employed. Razor-sharp technical pen lines, each laid in like the end grain of a deck of playing cards, define one kind of passage. The wide trails of a square brush, traversing in sinuous echelon, establish another. Like contrapuntal voices in an organic sort of boogie-woogie, Rosner’s work is a grinning nod to a wild and woolly world of traffic.
—Patricia Rosoff

Art New England online – www.artnewengland.com
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Statement

2012

My most recent body of work combines biomorphic forms, viscous drips, direct rubbings of wood grain, gestural painting and obsessive line drawing. Although there are obvious connections to photography and printmaking, these images are all one of a kind. Every line is drawn freehand without a straight edge and the wood grain pattern is rubbed individually onto each surface from separate planks of wood.

These pieces follow nine years of painting highly detailed abstract miniatures on raw pine boards. The accumulation of tiny mark making on wood created a raised surface and distinct texture which naturally led to me to make rubbings of the miniature paintings. Later, I began to create more expansive rubbings taken from the deck behind my kitchen. On top of this layer of wood grain pattern, the organic dissemination of painted marks across the surface mutated into a more methodical system of painting and line drawing.

It is significant that the natural element in the work, the wood grain, is derrived from pressure treated wood, infused with chemicals formulated to defy nature. This toxic impression is captured on Yupo, a synthetic Japanese paper made of polypropylene—which ironically, is a “green” material.

The work is largely driven by process and materials, however the selection of synthetic, natural and chemical elements in combination with textures directly lifted from my home lends the work personal resonance and at the same time harbors more universal concerns.


Aldrich Contemporary Art Museum

June 2009

Full Circle at the Aldrich Contemporary Art Museum.
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Full Circle at the Aldrich Contemporary Art Museum
Aldrich galery view
Aldrich galery view 2

Essay by Harry Philbrick

June 2006

On one level, describing the paintings in an Alyse Rosner exhibition is quite simple; all the works are 5 1/2 x 6 inches. Rosner consistently paints on wooden panels cut from standard one-inch thick boards. Given their small scale, the works seem almost chunky; they are thick in proportion to their size. This gives them a sculptural feel – the viewer is aware of them as objects, not just paintings.

Aware of these sculptural underpinnings, Rosner places the wood so that the grain runs vertically. Before she has made a mark she has made a number of decisions limiting and influencing the paintings she will create. While one might think that she has a consistent arena within which to work, each piece of wood has its own characteristics of grain, knot holes, and texture of surface to respond to.

The artist has said that the small scale and consistent use of a humble support – the board – “originally evolved out of the limitations of my life – space and time constraints – but became crucial to the imagery. The scale of the work allows me to get very involved and develop the detail and tiny mark making.”

Rosner has found freedom through limitation. This connects her work in spirit and process to Eastern art, and in fact Rosner cites Indian miniatures, manuscript illuminations, and Japanese screen paintings as influences. All have formal and procedural constraints within which artists have traditionally worked. Interestingly, the one contemporary artist she cites as an influence is Chuck Close, who has built a major and staggeringly inventive body of work by working within self-imposed limitations.

For Rosner, the limitations of scale and material are just the beginning. She limits herself to a small repertoire of mark making – dots, small dashes, slight curls, lacy swirls – atop veils of color. The mark making is direct, confident, precise, and clear. The viewer can easily see how the works were made, and the connection to another artist Rosner cites as an influence, Philip Guston. Like Guston, Rosner’s work has an almost cartoon-like simplicity.

Yet despite the sculptural quality of the support and the simplicity of approach to mark making, these are above all paintings. Again, the artist: “Painting is the most direct route to generate the language. The color and surface are just as important as the mark making. Initially, I considered the paintings on wood to be in place of drawings– in the sense that I was processing ideas to see how they would look. As the work develops from piece to piece I control the image more. The experience of printmaking — specifically etching and woodblock printing– also informs the physical process of how the paintings are made. But I choose paint for its directness. In printmaking there is distance between creating the image and the actual print… These are paintings. They are not a representation (picture) of something else. When they work, they become their own thing – and to me, they look like something is happening and I’ve caught it mid way. Stop action.”

Stop action is a good phrase for describing these paintings. The stopped action could be a rising tide, a passing sea of phosphorescence, the swish of a dress, or some more cosmic event.

But, as Rosner states, these are not pictures; the stopped action is painting. These works are intensely personal, even private paintings, created amidst the daily tumult of children and household. Painting under these conditions is indeed a heroic undertaking. Action painting was, in its day, viewed as a brave and iconoclastic achievement. Perhaps we might view Rosner’s smaller scale actions as even more of an accomplishment; to create such beauty within the exigencies of the household is to connect to some of the most vital traditions in both art and craft. This is a major achievement. This is art that reminds the viewer to look again at one’s own boundaries not as limitations, but as opportunities.

Harry Philbrick May, 2006

All quotes by the artist from email correspondence with the author, April, 2006.

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