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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190824
DTEND;VALUE=DATE:20190923
DTSTAMP:20260504T125110
CREATED:20200817T174838Z
LAST-MODIFIED:20260113T220940Z
UID:28096-1566604800-1569196799@www.lydmgallery.com
SUMMARY:Sanda Iliescu: Arrivals\, Angels
DESCRIPTION:Exhibition WorksArtist Statement\n				\n				\n					\n				\n				\n				\n				\n				 \nAngel with Birds and Flowers (St. Francis)\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed (sold) \n \nAngel with Dog and Serpent\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel with Notebook and Bird\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel with Birds\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Starting on a Journey\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed   sold \n \nAngel: After Brancusi’s Portrait of James Joyce\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel in Greek Costume\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Crying with Bird\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Brings Medicine\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed sold \n \nAngel Bringing Snow\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed. sold \n \nAngel with Snail\,2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \n Angel Crying\, 2019. Ink on paper\, 19 x12”\, 22 x 16” framed \n \nAngel Crying\, 2019. Ink on paper\, 8 ½ x 5 ½”\, 12 x 9” framed \n \nAngel\, 2019. Ink on paper\, 8 ½ x 5 ½ “\, 12 x 9” framed sold \n \nAngel Crying\, 2019. Ink on paper\, 8 ½ x 5 ½ “\, 12 x 9” framed \n \nYoung Angel\, 2019. Ink on paper\, 8 ½ x 5 ½”\, 12 x 9” framed \n \nAngel (The Engineer)\, 2019. Watercolor on paper\, 10 x 10”\, 14 x 14” framed \nAngel Reading\, 2019. Watercolor on paper\, 10 x 10”\, 14 x 14” framed sold \n \nTwo Angels\, 2019. Watercolor on paper\, 10 x 10”\, 14 x 14 ” framed \n \nAngel Crying: in Garden\, 2019. Ink wash on paper\, 10 x 8”\, 14 x 12” framed sold \n \nAngel Crying: at the Source\, 2019. Ink wash on paper\, 10 x 8”\, 14 x 12” framed Sold \n \nAngel Crying: with Hope\, 2019. Ink wash on paper\, 10 x 8”\, 14 x 12” framed sold \n  \n			\n				\n				\n				\n				\n				These angels were not anticipated: I did not make a conscious decision to draw angels. The subject simply grew from certain feelings one day. I felt very low. I felt like crying.  Somehow\, as an act of defiance—a sort of resistance if you will—I picked up a pen and drew a figure crying. Perhaps this was a sort of self-portrait\, but a self-portrait that did not really look like me. In fact I did not know whether this was a man or woman or child. But\, as I drew\, I felt a sense of compassion for this unknown person. After drawing the tears\, I began wanting to give this figure (this child or man or woman crying) something to hold on to—something that was not entirely hopeless. So\, without really knowing why\, I had a desire to draw wings. And so the figure crying became an angel. \nSanda Iliescu\, Notes on Work
URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-angels/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Angel_With-Brids-and-Flowers-St.-Francis_SFSmith_190619_3037.-resized.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190824
DTEND;VALUE=DATE:20190923
DTSTAMP:20260504T125111
CREATED:20190922T194914Z
LAST-MODIFIED:20260119T213136Z
UID:17207-1566604800-1569196799@www.lydmgallery.com
SUMMARY:Sanda Iliescu: Arrivals
DESCRIPTION:Exhibition WorksInstallation ShotsPress Release\n				\n				\n					\n				\n				\n				\n				\n				 \nIn the City of Z\, Memories of Rome\, 2018. Watercolor and gouache on paper\, 10 x 12.5″ sold \n \nAlphabet on the Beach\, 2019. Colored pencil on paper\, 32 drawings unframed\, 10 x 8″ each \n \nIn the City of Zi : At Water’s Edge #2\, 2018. Oil on canvas\, 23.5 x 29.25″ \n \nIn the City of Zi: At Water’s Edge #2\, 2018. Oil on canvas\, 23.5 x 29.25″ sold \n \nPeter’s Park: Lagoon\, 2018. Media: Graphite\, Watercolor\, and Gouache on paper\, 10 x 10″To see more from the Peter’s Park series\, click here. \n \nMy Mother’s Bird\, 2015. Thread\, ink and collage on paper\, 8 x 8″  soldTo see more from the Birds Series\, An Unexpected Aviary\, click here. \n \nAngel with Bird\, 2019. Ink on paper\, 18 x 12 inchesTo see more from the Angels Series\, click here. \n \nSonnet XI\, 2019. Oil on canvas\, 18 x 18″To see more from the Sonnets series\, click here. \n \nBlanket #1\, 2019. Oil on board\, 12 x 12″To see more from the Blankets Series\, click here. \n \nThe Blue Pool: Color Meditation\, 2017. Color pencil on paper\, 10 x 10″ sold \n  \nEstelle’s Collection: Broken Umbrellas (No. 2)\, 2015. Collage\, pencil\, and ink on paper\, 9 x 9”\, 14 x 14”\, framed \n \nSand Sketches:  No. 2\, 2015. Watercolor on paper\, 8 x 10”\, 12 x 14” framed \n \nSand Sketches:  No. 1\, 2015. Watercolor on paper\, 8 x 10”\, 12 x 14” framed \n  \nEstelle: At the Beach\, 2015. Mixed media\, 9 x 9”\, 14 x 14” framed \n  \n \nMemories from Childhood: Objects on the Beach\, 2015. Watercolor on paper\, 8 x 10”\, 12 x14” framed \n \nMemories from Childhood: Objects on the Beach\, 2015. Watercolor on paper\, 8 x 10”\, 12 x14” framed \n \nEstelle’s Collection: Broken Umbrellas (No. 1)\, 2015. Collage\, pencil\, and ink on paper\, 9 x 9”\, 14 x 14” framed \n \nIn the Gray Courtyard: Color Meditation\,2017. Colored pencil on paper\, 10 x 10”\, 11 ½ x 11 ½” sold \n \nThe Red House: Color Meditation\, 2017. Colored pencil on paper\, 10 x 10”\, 11 ½ x 11 ½” framed sold \n \nCastle Indigo: Color Meditation\, 2017. Colored pencil on paper\, 10 x 10”\, 11 ½ x 11 ½” framed sold \n \nIn the City of Zi: At Water’s Edge #3\, 2018. Oil on canvas\, 23.5 x 29.25″ \n \nIn the City of Zi: At Water’s Edge #4\, 2018. Oil on canvas\, 23.5 x 29.25″ \n  \n			\n				\n				\n				\n				\n				 \n \n \n \n \n \n \n			\n				\n				\n				\n				\n				\n\n\n\n\n\n\n\nLes Yeux du Monde is excited to present for our initial show of the 2019 fall season Sanda Iliescu: Arrivals\, from August 24 to September 22. Born in Romania\, Iliescu received her BSE in Civil Engineering and her Masters of Architecture from Princeton University. She is a well-known and beloved professor of art and architecture at UVA\, winning the National Beginning Design Faculty award in 2017\, and an artist who has exhibited her art globally and has received many prestigious awards including the Rome Prize\, a McDowell fellowship\, and the Distinguished Artist Award of the New Jersey State Council of the Arts. Her writing on aesthetic issues in art and design includes the book The Hand and the Soul: Aesthetics and Ethics in Architecture and Art and the forthcoming Looking Deeply: Essays on Art\, Architecture\, and Design as well as countless articles including “The Garden as Collage\,” “Beyond Cut-And-Paste\,” and “Art and Community: Making Public Art on a University Campus.” With her students\, she has created many public art projects\, responding to current campus and world issues of discrimination and violence. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nThis exhibition will feature a wide sampling of Iliescu’s paintings\, drawings and collages\, all bound together with a common theme of magic or a surprising eruption of the sacred in the mundane. The artist writes of the show’s title: “Arrival suggests for me arriving at a magical\, imaginary place of both presentness (being in the present) and memories (remembering the past).” Magical messengers—birds\, angels\, some weeping\, flying umbrellas and more—populate the paintings and collages. Her birds are from a series she drew with her non-dominant\, left hand\, producing one a day for about 5 years\, and their freedom and expressiveness is astounding for such spare and linear compositions. Sometimes she embellishes with sewing and collaged paper or texts. Of birds\, she writes\, “Birds are somewhat fantastical—miraculous even.  They do something we humans cannot naturally do: they fly\, float\, and dance in the air.” Angels are also marvelous messengers and intermediaries from another realm. She writes that they “arrived” as a surprise one day when she was feeling down and she started drawing figures\, neither male nor female\, but weeping. She began to feel compassion for them and wanted to give them “something to hold on to\,” so she gave them wings and thus this series was born. It grew to include a wide variety of angelic beings in many different personalities and guises. They are deceptively simple\, though infinitely varied and expressive through only her sure and masterful line.  Other works in the show are from the series In the City of Zi\, and Peter’s Park\, created during her time in Zurich in 2018 as a Truninger Art Fellow. These give a nod to one of her favorite\, also Swiss\, artists of Modernism\, Paul Klee\, in their rhythmic and surprising geometry\, color and subjects. \n\n\n\n\n\n\n\n\n\n\n 
URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-2019/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Memories-of-Rome_SFSmith_190619_3012.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190824
DTEND;VALUE=DATE:20190923
DTSTAMP:20260504T125111
CREATED:20190827T175413Z
LAST-MODIFIED:20260113T184636Z
UID:17162-1566604800-1569196799@www.lydmgallery.com
SUMMARY:Sanda Iliescu: Arrivals\, Peter's Park
DESCRIPTION:Exhibition WorksInstallation Shots\n				\n				\n					\n				\n				\n				\n				\n				 \nPeter’s Park: Garden with Birds and Snake\, 2019. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park: Pond\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park (No. 10): At the Lake\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park (No. 7): Regatta\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nHephaestus in Love\, 2018. Watercolor\, gouache\, and collage on paper\, 9 x 9”\, 14 x 14” framed\, \n  \n \nPeter’s Park (No. 3.): Garden Plots\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed \n  \n \nPeter’s Park (No. 8): Lagoon\, 2018. Watercolor\, gouache\, and collage on paper\, 10 x 10”\, 14 x 14” framed
URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-peters-park/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Peters-Park_With-Blue-Birds_SFSmith_190304_1780.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190824
DTEND;VALUE=DATE:20190923
DTSTAMP:20260504T125111
CREATED:20190827T144907Z
LAST-MODIFIED:20260113T224243Z
UID:17158-1566604800-1569196799@www.lydmgallery.com
SUMMARY:Sanda Iliescu: Sonnets
DESCRIPTION:Exhibition WorksArtist Statement\n				\n				\n					\n				\n				\n				\n				\n				 \nSonnet XII\, 2019. Acrylic on canvas\, 18 x 18” \n  \n \nSonnet XI\, 2019. Acrylic on canvas\, 18 x 18” \n  \n \nSonnet X\, 2019. Acrylic on wood panel\, 12 x 12” \n  \n \nSonnet IX\, 2019. Acrylic on canvas\, 12 x 12” \n  \n \nSonnet I\, 2019. Acrylic on canvas\, 12 x 12” \n  \n \nSonnet II\, 2019. Acrylic on canvas\, 12 x 12” \n  \n \nSonnet IV\, 2019. Acrylic on wood panel\, 12 x 12” \n  \n \nSonnet I\, 2019. Acrylic on canvas\, 12 x 12” \n			\n				\n				\n				\n				\n				Sonnets \nI made these paintings after coming home from a month long period in Switzerland on an arts fellowship.  I had enjoyed this time of intense painting\, but I had also missed my husband very much\, and when I came home I found myself drawn to read Shakespeare’s sonnets\, many of which concern love and the writer’s feelings for the beloved. I read carefully and took notes. At some point I decided to try to make paintings that would convey something of the mood of each sonnet.  So that’s what these paintings are: mood pieces based on Shakespeare’s sonnets.  Some of the paintings\, like the sonnets\, are melancholy\, even dark; some are more joyful.  Somewhere in the painting I would write the first line of the sonnet.  The mood is defined by the colors I choose\, by the types of lines I draw\, and by the relationship of the often square patches of color in the pieces and the free flowing lines running through and around them. I think of it as a kind of dance that takes place between lines and colors. \nSanda Iliescu\, Notes on Work\, 2019
URL:https://www.lydmgallery.com/events/sanda-iliescu-sonnets/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/12_Sonnet_SFSmith_190619_2914.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190824
DTEND;VALUE=DATE:20190923
DTSTAMP:20260504T125112
CREATED:20190827T135344Z
LAST-MODIFIED:20260113T182502Z
UID:17153-1566604800-1569196799@www.lydmgallery.com
SUMMARY:Sanda Iliescu: Arrivals\, Blankets
DESCRIPTION:Exhibition WorksInstallation ShotsArtist Statement\n				\n				\n					\n				\n				\n				\n				\n				 \nQuiet\, 2019. Acrylic on wood panel\, 12 x 12″ \n \nQuilters Castle\, 2019. Acrylic on wood panel\, 12 x 12” \n \nOde to a Quiltmaker\, 2019. Acrylics on wood panel\, 12 x 12” \n \nSonnet VI\, 2019. Acrylic on canvas\, 12 x 12” \n \nBlanket No. 2\, 2019. Acrylic on wood panel\, 12 x 12” \n \nBlanket No. 3\, 2019. Acrylic on wood panel\, 12 x 12” \n			\n				\n				\n				\n				\n				 \n			\n				\n				\n				\n				\n				Blankets \nLike the sonnets\, these paintings are very much about love\, except this time it’s my love for my son.  They’re called “Blankets” because when he was very little he had a blanket that was special to him.  It was a beautiful\, soft blanket\, knitted\, with very pale colors – pale blues and pale rose shades.  It also had a beautiful scent – at least I thought it was a beautiful scent\, because it was his scent. I tried to convey the spirit of that blanket in these paintings. They’re grid paintings and\, like the sonnets\, they use color to convey moods – the peace\, the wonder\, the warmth of childhood.  As I kept working\, some of the paintings departed from the original blanket of my son and became just mood pieces where the different moods were suggested by colors and color relationships.  Some of them are like quilts or rugs.  But they’re all about mood and also scent and texture\, since I think soft colors\, soft lights\, can convey a sense of smell and touch.
URL:https://www.lydmgallery.com/events/sanda-iliescu-arrivals-blankets/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/6_Rosy-Fingered-Dawn_SFSmith_190628_0754-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190824
DTEND;VALUE=DATE:20190923
DTSTAMP:20260504T125112
CREATED:20190816T174304Z
LAST-MODIFIED:20260113T215638Z
UID:16953-1566604800-1569196799@www.lydmgallery.com
SUMMARY:Sanda Iliescu: Birds
DESCRIPTION:Exhibition WorksArtist Statement\n				\n				\n					\n				\n				\n				\n				\n				 \nFemale Yellow Warbler\, Dendroica Petechia\,  Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nFish Crow\, Corvus Ossifragus\,  Mixed media on paper\, 8 x 10”\, 12 x 14” framed\, $1200 \n  \n \nTufted Titmouse\, Baelophus Bicolor\,  Mixed Media on paper\, 8 x 8”\, 12 x 12 framed\, $1200. sold \n  \n \nRose-Breasted Grosbeak\, Pheucticus Ludovicianus\,  Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nPine Siskin\, Carduelus Pimus\,  Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nMy Mother’s White Bird\, Aris Alba est Mater Mia\, 2013. Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nMy Mother’s White Bird\, Aris Alba est Mater Mia\, 2013. Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nMocking Bird\, Mimus Polyglotos\, Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nGreen Heron\, Butorides Virescens\,  Mixed media on paper\, 11 x 8 ½”\, 15 x 12 ½” framed\,$1200 \n  \n \nDove\, Columba\,  Mixed Media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nCity Pigeon\, Columba Liria\,  Mixed media on paper. 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nCity Pigeon\, Columba Liria\,  Mixed media on paper. 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nGray Catbird\, Dumetella Carlinensis\,  Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nBlack and White Warbler\, Muiotilta Varia\, Mixed Media on collage on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nBlack Bellied Plover\, Plovialis Squatarola\,  Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n \nBarred Owl\, Strix Varia\, 2013. Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n \nBaltimore Oriole\, Icterus Galbula\,  Mixed Media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 sold \n  \n \nCarolina Chickadee\, Poecile Carolinemsis\,  Mixed media on paper\, 8 x 8”\, 12 x 12 framed\, $1200 \n  \n			\n				\n				\n				\n				\n				An Unexpected Aviary: Birds Drawn with My Left Hand\nApproximately 8 x 8 inches; mixed media on paper; 2010-2015 (196 drawings) \nI started this series in order to teach myself to draw with my non-dominant\, left hand. The more I drew\, the more I enjoyed using my “other” hand.  I liked its delicacy and deliberateness\, its awkwardness and slowness… The left hand insisted I draw in a steady and minimal way. I had to be precise and concise. Every line had to mean something: there could be no wasted marks.   \nIt seemed like magic: the way I could convey a bird’s distinctive character—her personality—with just a few lines. Some birds are fragile and shy\, others incredibly bold; some are angry or petulant\, others exuberantly happy; some soar\, others float gently\, and others simply stand their ground…  \nPerhaps more than the right\, my left hand delights in the endless possibilities of drawn lines moving on a page.  Fast lines\, and slow lines; broken and gently sweeping ones; harsh and jagged ones; sweet lines; lines that echo each other… lines that touch and lines that do not touch… With just lines I could suggest not only the peculiar character of the bird but also a set of relations between the bird and its specific context… I knew the drawing was going well when an atmosphere emerged: a way of seeing and of being in thatplace where the bird lived. \nBut why draw birds?  I could have used my left hand to draw any number of things. The truth is that I simply love birds and pictures of birds—yes\, even those cheesy ones printed on hallmark cards. A bird can be so adorable\, delicate\, and innocent. Like all animals birds lack guile and dishonesty. And\, of course\, all birds are somewhat fantastical—miraculous even.  They do something we human cannot naturally do: they fly\, float\, and dance in the air. \nMy love of birds made it easy to draw them over and over.  Each morning\, I rested my soul by looking at a bird. I did this almost every day\, for five years\, between 2010 and 2015.  I stuck with it. I drew\, erased\, tore up\, and stitched fragments of drawings together. My drawing models varied. I drew birds I found in books\, birds on greeting cards\, birds I remembered\, and birds I saw in our backyard: alighting on our bird feeder\, resting on branches of bushes\, or just hopping around grassy areas looking for worms…   \nSanda Iliescu
URL:https://www.lydmgallery.com/events/sanda-iliescu-birds/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.lydmgallery.com/wp-content/uploads/Yellow-Warbler_SFSmith_4000_Adj.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190608
DTEND;VALUE=DATE:20190812
DTSTAMP:20260504T125112
CREATED:20190810T104340Z
LAST-MODIFIED:20240108T181937Z
UID:16846-1559952000-1565567999@www.lydmgallery.com
SUMMARY:Summer Sculpture Show: William Bennett\, Ed Haddaway\, Charles Lambert\, Ed Miller\, James Nemer\, Andy Rommel\, Kurt Steger\, Chris Stephens & Gary Colson\, Nick Watson
DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n				\n				\n					\n				\n				\n				\n				\n				 \nWilliam Bennett\, Loomings\, 1998-2019. Heart pine\, Virginia Juniper\, steel\, bronze\, water\, wind\, fabric\, solar light\, give away text\, 26’ x 6’ \n \nEd Haddaway\, Meeting Mr. Wolf\, 2013. Painted steel\, 7.5 x 4 x 2’ and 7 x 3 x 2′ \nEd Miller\, Earth Embracing the Sky\, 2019. Clay cement\, stainless steel\, steel\, tree branches\, 12 x 4 x 4’ \nChris Stephens and Gary Colson\, Claire\, 2018. Indiana limestone\, 77 x 15 x 15” \nCharlie Lambert\, Quiet\, 2019. Concrete\, rebar and pigment\, 10 x 3.5 x 4’ \n \nJames Nemer\, Consent\, 2019. Styrofoam\, Foam Coat\, Dryloc paint\, 6’5” x 4′ \n \nKurt Steger\, Ascension No.5\, 2012. Wood\, oak burl\, string\, copper\, pigment\, 38 x 9 x 8″ \nAndy Rommel\, Monument to a Bird\, 2016. Repurposed furniture wood & parts\, 13 x 12.5 x 3.5″ \n \nNick Watson\, Untitled\, 2019. Stainless steel\, copper\, reclaimed wood\, oil paint\, cement\, 38 x 37 x 17” \n \nNick Watson\, Untitled\, 2019.Copper\, cement\, oil\, 32 x 7 x 9” \n\n\n\n\n\n \n\n\n\n\n\n			\n				\n				\n				\n				\n				UVa’s Professor of Sculpture William Bennett\, well known and celebrated in important books and reviews\, is exhibiting Loomingsa\, an impressive interactive sculpture with its origins in Moby Dick\, and reconfigured to also honor the late well-loved and renowned Picasso scholar and professor of Modern Art at UVA\, Lydia Gasman. His inclusion of the deep well at its lower center and its white flag at its uppermost point as well as the goddess figure pointing the way out to the horizon references Gasman’s groundbreaking scholarship on Picasso’s post WWII play\, The Four Little Girlsand its archetypal symbolism of heaven and hell. Typical of Bennet’s feeling that art should be a gift to the viewer rather than a commodity\, he provides a place to sit\, a handle to move the sand to make ocean-like waves\, and a literal gift for each viewer in the box—a take-away text from Moby Dick. \nEd Miller\, a studio and teaching assistant at UVA in the Sculpture department and also professor of sculpture and ceramics at PVCC has shown his work widely since receiving his MFA from the University of TN. His piece Earth Embracing the Sky\, an over life size figure of a woman growing out of the earth\, was inspired first he writes by Atlas\, the Greek god who holds up the sky and heavens. This figure holds a stainless steel circular frame\, which can be seen\, he tells us\, as a type of “moongate” or a visual entrance to the beyond. When viewers walk up to the right spot\, in front of the figure\, they will be able to see the surrounding landscape framed in the circle\, and the view changes depending upon where the viewer stands. \nTwo star UVA sculpture students are represented also in this show. Nick Watson\, who graduated in 2015 and then completed the coveted and prestigious year as Aunspaugh fellow and Charlie Lambert who just graduated this past May and is a current Aunspaugh Fellow. Nick exhibits two steel and copper works and a hanging piece in the gallery and Lambert has a cement ladder form leaning precariously on a slab of concrete. Instead of rising to the heavens\, as most often happens in sculpture\, his piece is horizontal and earthly as if to say we should also consider the broken and discarded. \nJames Nemer who has been working in Bennett’s sculpture studio for many years\, shows his striking Consent\, a mammoth couple embracing\, which is made not from stone as it appears but from Styrofoam painted with Dryloc to seal it\, an innovative and successful new conception for sculpture medium. \nAlso on view on the grounds is an impressive cubist type carved Indiana limestone figure Claire by Chris Stephens and Gary Colson. The viewer is greeted by six colorful over life-sized creations in painted and rusted steel by acclaimed Albuquerque sculptor Ed Haddaway.  In the gallery\, along with the art on the walls by 29 artists\, pieces by New York sculptor Kurt Steger and Oregon sculptor Andy Rommel reside.
URL:https://www.lydmgallery.com/events/summer-sculpture-show/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190606
DTEND;VALUE=DATE:20190812
DTSTAMP:20260504T125112
CREATED:20190811T151852Z
LAST-MODIFIED:20240108T182219Z
UID:16870-1559779200-1565567999@www.lydmgallery.com
SUMMARY:Landscape Re-Imagined: a group show in collaboration with Second Street Gallery’s Lady Painters exhibition
DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n				\n				\n					\n				\n				\n				\n				\n				 \n \nIsabelle Abbot\, Spring Fling\, 2019. Oil on canvas\, 30 x 30” \nJohn Beerman\, Mountain\, New Moon\, 2014. Oil on linen\, 22 x 26” \nKaren Blair\, Behind the Chateau\, 2019. Mixed Media on Canvas\, 48 x 36″ \n \nElizabeth Bradford\, Cumberland Island Palm\, 2017. Acrylic on Canvas\, 48 x 30” \nJanet Bruce\, Night Untamed\, 2019. Oil on canvas\, 48 x 36 \nAnne Chesnut\, Crozet to White Hall\, 2017. Print on rag paper with hand stitching; image 18 x 18″\, sheet\, 24 x 24” \n \nJessie Coles\, Open Door (After Bonnard)\, 2019. Mixed media drawing and collage on yupo paper\, 22 x 20” \nRichard Crozier\, Monticello Dairy Demolition\, 2019. Oil on board\, triptych\, 12 x 48″ \n \nGray Dodson\, Soybean Field\, 2016. Oil on Canvas\, 20 x 24” \nWilliam Dunlap\, Walker Hound\, Blue Ridge II\, 2018. Oil\, polymer\, and dry pigment on rag paper \nMary Page Evans\, Purple Mountain\, 2013. Oil & charcoal on canvas\, 42 x 36” \nMichelle Gagliano\, Scraped Landscape\, 2019. Oil and mixed media on wood panel\, 24 x 48” \nEllen Hathaway\, Taste and See\, Mixed media on canvas\, 36 x 36” \nDavid Hawkins\, Bicycle Built for Fools\, 2019. Monotype\, 22 x 30” \nMolly Herman\, Since Feeling Is First\, 2013. Oil and collage on linen\, diptych\, 20 x 32” \nGwyn Kohr\, Contemplation\, 2018. Acrylic on wood panel\, 24 x 24” \nKathy Kuhlmann\, Flowers\, 2019. Recycled trash bags and plastic grocery bags\, acrylic spray paint on recycled cardboard on canvas\, 30 x 20′ \n \nAna Marie Liddell\, Blue Ridge Sonnet #29\, 2018. Graphite on paper\, image 16 x 22”\, sheet 22 x 28” \n  \n \nAnn Lyne\, The Smiths\, Lexington\, VA\, 2017. Oil on linen\, 36 x 24” \nElizabeth Peak\, Cloud Shadow II\, 2014.  Three plate color etching\, 16 x 20″ \n \nTori Purcell\, Sunflower Field\, 2018. Color photograph\, 1/5\, 14 x 21” \nAna Rendich\, Grassland\, Home and the Blue Mountains\, 2019. Resin\, 8 x 8” each \nDorothy Robinson\, Full House. Oil on canvas\, 48 x 64” \nKrista Townsend\, Into the Woods\, 2018. Oil on canvas\, 48 x 36” \nPriscilla Long Whitlock\, Reflections\, Mirrored Marks\, 2019. Oil\, mixed media on canvas \n \nLaura Wooten\, Spring Patio\, 2019. Oil on panel\, 24 x 18″ \nCate West Zahl\, Flightscape\, Fecund Earth Below\, 2019. Oil on board \n			\n				\n				\n				\n				\n				Les Yeux du Monde’s summer show\, Landscape Reimagined will feature 27 painters and 10 sculptors who take landscape as their subject or use their art to literally inhabit and intersect with nature.  The show was inspired by the concurrent exhibition\, Lady Painters at Second Street Gallery which examines the influence of Abstract Expressionist painter Joan Mitchell on contemporary artists Isabelle Abbot\, Karen Blair\, Janet Bruce\, Molly Herman and Priscilla Whitlock.  Landscape Reimagined will include work by those artists as well as others who paint in the expressionist mode such as Michelle Gagliano\, Ellen Hathaway and Gwyn Kohr\, along with veteran Ann Lyne and Dorothy Robinson. It will also include Mary Page Evans\, a direct link to Mitchell\, who knew Mitchell in the South of France in her later years. Mitchell admired Evans so much that she gave her a painting and hung one of Evans’ in her own bedroom. On the other end of the spectrum in terms of style\, the show will feature some who paint landscape more precisely or realisticailly such as Elizabeth Bradford\, Laura Wooten\, and Richard Crozier. Crozier’s paintings often bear witness to the slow destruction of landscape for development. Several artists use landscape as inspiration for explorations in other media\, as Kathy Kuhlmann does in her plastic bag paintings and Ana Rendich does in resin.  Two newcomers to LYDM but not to the national or international art scene—John Beerman and William Dunlap—will present the theme in their more surreal and conceptual modes.  \nThe show will also feature sculpture inserted literally into the landscape around the grounds of Les Yeux du Monde by ten sculptors who work in central Virginia\, New Mexico\, Oregon and New York. These works\, in media ranging from steel to concrete\, stone\, styrofoam\, wood and more\, along with the art inside the gallery will encourage us to honor and celebrate this living earth we all call home in a time of increasing peril to its natural resources. It is hoped that our meditations on the landscape will lead us to see our important role as stewards of our environment instead of reckless exploiters of it.
URL:https://www.lydmgallery.com/events/landscape-re-imagined-summer-2019/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190504
DTEND;VALUE=DATE:20190603
DTSTAMP:20260504T125113
CREATED:20200817T181823Z
LAST-MODIFIED:20240108T182225Z
UID:28113-1556928000-1559519999@www.lydmgallery.com
SUMMARY:Lincoln Perry: Places in Time & Kathryn Keller: Interiors and Landscapes
DESCRIPTION:Exhibition WorksPress Release\n				\n				\n					\n				\n				\n				\n				\n				Lincoln Perry: Places in Time \n \nVilla d’Este: East\, 2017. Oil on canvas\, 44 x 32 \n \nVilla d’Este: West\, 2017. Oil on canvas\, 44 x 32″ \nThe Future\, 2017. Oil on canvas\, 32 x 44″ \nVilla d’Este\, Choices\, 2017. Oil on canvas\, 32 x 44″ sold \nAt Diana’s Baths\, 2015. Oil on canvas\, triptych\, 32 x 84” \n \nBitter/Sweet XIV\, 2000. Oil on canvas\, 26 x 28″ \nBitter/Sweet XV\, 2000. Oil on canvas\, 26 x 28″ sold \nThe World Outside\, 1993. Oil on canvas\, 36 x 36” \nKathryn Keller: Interiors and Landscapes \nCashiers 7_30_18\, 2018. Oil on canvas 40 x 54″ \nCashiers 6_26_18\, 2018. Oil on canvas\, 36 x 38″ \nBleak House 5-15-18\, 2018. Oil on canvas\, 14 x 8″Bleak House 4-15-18\, 2018. Oil on canvas\, 16 x 20″ \n \nThe Storm is Approaching\, 2015. Oil on canvas\, 13 x 20″ \nNative Pecans\, 2015. Oil on canvas\, 30 x 22″ sold \n \nHide and Seek\, 2015\, Oil on canvas\, 18.5 x 26.25″ \n \n  \nAfter a Deluge\, 2016. Oil on canvas\, 24 x 34″ \nBayou Reflections\, 2012. Oil on canvas\, 20 x 24″ sold \nWhite House and Red Tree\, 2012. Oil on paper\, 14 x 11″ sold \n			\n				\n				\n				\n				\n				Les Yeux du Monde is excited to present an artist we have shown since our inception 24 years ago\, Lincoln Perry and his show Places in Time\, and to introduce a talented newcomer\, Kathryn Keller and her Interiors and Landscapes from from 4 May – 3 June 2019. There will be an opening reception (free and open to the public) for both exhibitions on Saturday\, May 5 from 4:30 – 6:30. \nLincoln Perry\, well known muralist and expert painter of figures in architectural and landscape settings\, will exhibit his latest paintings inspired by his travels with his wife\, celebrated writer Ann Beattie\, to Italy and variously amongst their residences in Key West\, Maine and now Staunton VA. Places and their histories are conjured as he paints on the very spot where Camille Corot painted in Tivoli in the mid 1800s or as he paints the train station in Staunton VA thinking of the heyday of train travel in that place in the 1880s and other painters who used train travel as metaphor. Perry’s wide ranging knowledge of history\, art\, philosophy and literature finds its way into his work\, resulting in paintings rich in associations\, though often veiled and mysterious. The meticulously composed and richly-hued scumbled surfaces provide the perfect formal and visual vehicle for these contemporary expressions of time honored themes or new meditations on the human experience and our current place in time. \nPerry has exhibited widely and is in collections of museums and corporations throughout the U.S. and abroad. His murals are in Charlottesville as well as in Washington D.C.\, Tallahassee FL and St. Louis\, MS.  These murals form the basis for a documentary film about him that aired on PBS. His work has also appeared in many national reviews and books and is the subject of the book Lincoln Perry’s Charlottesville written by Ann Beattie. Some of Perry’s studies for the Cabell Hall mural will be included in his exhibition. \nKathryn Keller\, like Perry\, is inspired by places she lives\, works or visits. Her paintings\, while based on particulars\, rise to a level of universality and timelessness in her sensitive handling of the paint and compelling compositions. Her mediums include oil and watercolor\, and all of her works evoke strong feelings and memories seemingly stopped in time. Her paintings also bring to mind masters of the late 19thcentury Barbizon school and or early 20thcentury painters of interiors like Pierre Bonnard and Emil Vuillard. \nKathryn Keller’s work has been featured in shows from New York to Santa Fe and she is currently represented by galleries in New Orleans\, Charlotte North Carolina\, Louisville Kentucky and has select work with a prominent New York gallery.  Kathryn’s work will be featured in an upcoming solo museum show in August of 2019 at The Zigler Art Museumin Jennings Louisiana and in 2020 at the Meadows Museumin Shreveport\, Louisiana. \nKeller received her B.A. in Fine Art and English from The University of the South. She furthered her studies in art at the Arkansas Arts Center in Little Rock\, the Art Students League in NY and the New Orleans Academy of Fine Arts. The Alexandria Museum of Art in Alexandria LA also did a retrospective solo exhibition of Kathryn’s work called The View from Within. Kathryn’s work is in collections nationwide and it has been covered extensively in many reviews and important art magazines.
URL:https://www.lydmgallery.com/events/lincoln-perry-kathryn-keller/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190316
DTEND;VALUE=DATE:20190429
DTSTAMP:20260504T125113
CREATED:20200817T181340Z
LAST-MODIFIED:20240108T182411Z
UID:28109-1552694400-1556495999@www.lydmgallery.com
SUMMARY:PIcasso\, Lydia and Friends\, Vol. IV
DESCRIPTION:Installation Shots\n				\n				\n					\n				\n				\n				\n				\n				\,
URL:https://www.lydmgallery.com/events/picasso-lydia-and-friends-vol-iv/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190126
DTEND;VALUE=DATE:20190311
DTSTAMP:20260504T125113
CREATED:20200817T174144Z
LAST-MODIFIED:20240108T182402Z
UID:28089-1548460800-1552262399@www.lydmgallery.com
SUMMARY:Surrealities: The Art of Ed Haddaway and Russ Warren
DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n				\n				\n					\n				\n				\n				\n				\n				ED HADDAWAY \n \nEd Haddaway\, From A Series Of Recurring Dreams\, 1998. Painted/rusted steel. 11 x 6 x 4 feet \nFrom the House Where the Would Be Shadow Lives\, 2013. Painted Steel\, 20 x 5 x 5 feet \n \nMeeting Mr. Wolf\, 2013. Painted steel\, 7 x 4 x 2 feet \nWith the Noisy and Amusing Absurd. Painted and rusted steel\, 53 x 42 x 21” \nTo see more work by Ed Haddaway\, click here. \nRUSS WARREN \n \nRuss Warren\, Horn Concerto #4 in E Flat Major\, 2018. Acrylic on canvas\, 72 x 48″ (diptych) \n \nStill Life with Melons\, 2018. Acrylic on canvas\, diptych\, 72 x 48 inches \n \nStill Life with Guitars\, 2018. Acrylic on canvas\, diptych\, 72 x 48 inches \n \nThe Ready Jester\, 2018. Acrylic on canvas\, diptych\, 72 x 48 inches \n \nStill Life with Curtains\, 2018. Acrylic on canvas\, diptych\, 72 x 48 inches \n			\n				\n				\n				\n				\n				For the first show of 2019\, Les Yeux du Monde is bringing together sculpture by Ed Haddaway and painting by Russ Warren\, artists who last worked together in the early 1970s at the University of New Mexico. Both artists went their separate ways after that\, Haddaway having great success in Albuquerque New Mexico\, placing his over life—sized sculptural creations in central public places from coast to coast and Warren\, teaching at Davidson College in NC and exhibiting widely. Randomly looking up the “only personhe remembered (and admired) from his college days”in a massive alumni directory several years ago when Warren was doing a post card campaign (in mock protest of solely email correspondence)\, he found and wrote Ed Haddaway\, who responded and the two reconnected. In spite of the distance in years and geography\, their art has many parallels. They both combine forms and scenarios from the imagination and reality and thus hint at another world or underlying deeper reality beyond the mainstream.  They combine vegetal\, animal\, human and abstract or architectural elements\, creating surprising juxtapositions and drama and hinting at other realities or “Surrealities.”Similar to the original artists and writers of the Surrealist movement in art and literature in the 1920s they favor the irrational over the solely rational\, opting for a magical\, dream-like or humorous alternative. \nHaddaway\, based in Albuquerque\, has received many awards including three from the National Endowment for the Arts\, and has been covered by national magazines such as Art in America and ArtNews and most recently Vasari21. His sculpture resides in important public and private collections and museums from coast to coast\, and he will be represented in the 2019 Venice Biennale. Warren resides and works in Charlottesville\, after teaching art for 30 years at Davidson College\, while also showing in museum exhibitions nationally and internationally such as the Whitney Biennial and the Venice Biennale and has also been covered in major publications and books by critics such as Roberta Smith\, Donald Kuspit and Barry Schwabsky.
URL:https://www.lydmgallery.com/events/surrealities-the-art-of-ed-haddaway-and-russ-warren/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181117
DTEND;VALUE=DATE:20181231
DTSTAMP:20260504T125113
CREATED:20200817T183425Z
LAST-MODIFIED:20240108T183104Z
UID:28127-1542412800-1546214399@www.lydmgallery.com
SUMMARY:Annie Harris Massie: New Paintings in Oil and Encaustic
DESCRIPTION:Exhibition WorksPress Release\n				\n				\n					\n				\n				\n				\n				\n				Viburnum in the Afternoon\, 2018. Oil on canvas\, 71.25 x 59.25”  sold \n \nFlattening into Bedford County\, Early Fall\, 2018. Oil on canvas\, 72 x 48” Sold \nCobalt Crossing into the Pond\, 2018. Oil on panel\, 46 x 50” \nBending into the Rockfish Valley\, 2018. Oil on canvas 60 x 48” sold \nRing of Blue Hydrangea in the Pale Light\, 2018. Oil and encaustic on panel\, 46 x 50” Sold \nSycamores Above Possum Creek\, Spring\, Lone Jack Farm\, 2018. Oil on canvas\, 60 x 48” Sold \nDusk Cedars\, Boonsboro\, 2018. Oil on canvas\, 60 x 48” \nDown Ninth Street in the Pale Russet Light\, 2018. Oil on canvas\, 60 x 48″ \nHydrangea Ring\, 2018. Oil on panel\, 46 x 50” Sold \nSnowy View from Allied Arts Building\, 2018. Oil on canvas\, 60 x 48″ Sold \nCedars\, First Light\, 2018. Oil on canvas\, 36 x 48″ Sold \nMaple with the Shadow of our House\, 2018. Oil on canvas\, 47.5 x 47.5” sold \nBending Light across the Rockfish\, 2018. Oil on canvas\, 60 x 48” Sold \nStudy of Summer Rambo Apples\, 2018. Oil on panel\, 14 x 11″ \n			\n				\n				\n				\n				\n				The final show of 2018 at Les Yeux du Monde will feature the new paintings of one of the gallery’s most admired artists\, Annie Harris Massie. As this show will reveal\, she is just as comfortable painting vast natural vistas or cityscapes as she is painting a close up of a riverbank or a single hydrangea wreath blown up exponentially in size. The subjects\, whether animate or inanimate\, are abstracted to their underlying essences\, as Massie is concerned with painting the light that bathes all equally. The resulting masterful paintings in oil\, and sometimes encaustic\, seem dematerialized\, fluctuating and incandescent. \nMassie has a studio art degree from Hollins College and a Masters in Art History from Virginia Commonwealth University. Her work is in many important private and public collections including Richmond’s Federal Reserve Bank and Capital One\, Charlottesville’s UVA Health System and Martha Jefferson Hospital\, and Lynchburg’s Bank of the James.  Massie’s creative talents also helped fuel the company she and her brother\, William McKinnon Massie\, Jr.\, co-founded\, McKinnon and Harris\, which makes fine award winning original furniture designs for the landscape.
URL:https://www.lydmgallery.com/events/annie-harris-massie-new-paintings-in-oil-and-encaustic/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181013
DTEND;VALUE=DATE:20181112
DTSTAMP:20260504T125114
CREATED:20200817T182347Z
LAST-MODIFIED:20240108T183259Z
UID:28117-1539388800-1541980799@www.lydmgallery.com
SUMMARY:John Borden Evans: Blue Moon
DESCRIPTION:Exhibition WorksPress Release\n				\n				\n					\n				\n				\n				\n				\n				Blue Moon\, 2018. Acrylic on canvas\, 52 x 84″ sold \nEliza’s House Diptych April 18\, 2018. Acrylic on canvas\, 64″ x 112″ \nThe Lane\, 2017. Acrylic on canvas\, 28 x 48″ sold \nAha Sheep\, 2018. Acrylic on Canvas\, 29.5 x 47.5″ \nTwo Cows and Chopped Thistle at Night\, 2018. Acrylic on canvas\, 30.5 x 49″ \nStars and Smoke Diptych\, 2018. Acrylic on canvas\, 49.5 x 54.5″ \nDeer at Night Diptych\, 2018. Acrylic on canvas\, 16 x 46″ sold \nAbide Calves\, 2017. Acrylic on paper\, 9 x 10″ \nTwo Calves and Apple Tree\, 2017. Acrylic on paper\, 13 x 24″  sold \nMoses and Pink Clouds\, 2016. Acrylic on paper\, $2200 \n(Amazing Grace) Leaves\, 2015. Acrylic on canvas\, 28 x 33″ sold \nThree Black Sheep\, 2018. Acrylic on paper\, 13 x 16.5″ \nCow in Shade at Night\, 2017. Acrlyic on paper\, 5.5 x 5″ sold \nAunt Zet’s at Night\, 2017. Acrylic on paper\, 13.5 x 18″ sold \nThree Cows\, 2017. Acrlyic on paper\, 16 x 21″ \nTwo Blue Calves\, 2017. Acrylic on paper\, 16 x 20″ sold \n \nCrescent Moon\, 2017. Acrylic on paper\, 8.5 x 8″ sold \n \nBench at Walnut Creek Park\, 2018. Acrylic on canvas\, 29 x 35″ \nFive Cows in Spring\, 2018. Acrylic on canvas (diptych)\, 23 x 37″ \nPink Cow\, 2018. Acrylic on paper\, 11 x 17.5″ \n \nPurple Cow\, 2018. Acrylic on paper\, 5.5 x 5″ Sold \nRed Gate At Night\, 2018. Acrylic on canvas\, 30 x 48″ \n \nTwelve Starlings\, 2018. Acrylic on paper\, 15 x 22″ \n \nOld Apple Tree Diptych\, 2018. Acrylic on paper\, 8 x 17″ \n \nRed Truck in Park at Night\, 2017. Acrylic on paper\, 5.5″ x 7″ \n \nMay 4th\, 2018. Acrylic on paper\, 12 x 21″ \n \nSpring House at Night\, 2018. Acrylic on paper\, 15 x 20″ \n \n			\n				\n				\n				\n				\n				Les Yeux du Monde is pleased to present John Borden Evans: New Paintings from 12 October through 11 November 2018. Evans\, who has been exhibiting with LYDM since 1997\, is well known for his paintings of his North Garden environs seen at different times of day and in all seasons. The paintings are richly textured with countless layers of acrylic underpainting often in brilliant hues\, lending mystery\, surprise and pulsating life to the final work. Although his subjects are ordinary Virginia landscapes\, often including grazing sheep or cattle that he encounters daily\, the animals\, objects or trees take on an otherworldly aura. Every natural or man-made element in his works contains its own seed of life and energy\, thus lending a pantheistic magic to the whole.
URL:https://www.lydmgallery.com/events/john-borden-evans-blue-moon/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180901
DTEND;VALUE=DATE:20181008
DTSTAMP:20260504T125114
CREATED:20200817T182917Z
LAST-MODIFIED:20240108T183237Z
UID:28121-1535760000-1538956799@www.lydmgallery.com
SUMMARY:David Summers: Out of the Light Into the Light
DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n				\n				\n					\n				\n				\n				\n				\n				 \nSuns will Always Rise\, 2017. Oil on canvas\, 24 x 36″ \n  \n \nA Greater Net of Indra II\, 2017. Oil on canvas\, 24 x 48″ \n  \n \nHappy Still Life with Golden Spheres (The Painter is not In)\, 2017. Oil on canvas\, 24 x 36″ \n  \n \nHappy Still Life with Candle and Vivid Memories\, 2017. Oil on canvas\, 24 x 36″ \n  \n \nHappy Still Life with Gazing Ball\, 2017. Oil on canvas\, 24 x 36″ \n  \n \nLesser Net of Indra\, Cadmium\, 2017. Oil on canvas\, 24 x 36″ \n  \n \nSuper Happy Autumn Still Life with Gazing Ballwe\, 2017. Oil on canvas\, 24 x 36″ \n  \n \nDe Divina Proportione (Matthew’s Polyhedron). 2017. Oil on canvas\, 24 x 36″ \n  \n \nStill Life Between Two Apples\, 2017. Oil on canvas\, 16 x 20″ Sold \n  \n \nHappy Still Life (Red Standing) 2017. Oil on canvas\, 24 x 36″ \n  \n \nHappy Still Life with 5 Apples and 5 Oranges\, 2017. Oil on canvas\, 24 x 36″ \n  \n \nHappy Still Life with Gourds and Swans\, 2017. Oil on canvas\,  24 x 30″ \n  \n \nNancy’s Porch Garden\, 2018. Oil on canvas\, 24 x 24″ Sold \n  \n \nModern Still Life with Eight Spheres\, 2018. Oil on masonite\, 14 x 18″ \n  \n \nPlato’s Roses (Pink)\, 2018. Oil on canvas\, 15 x 30″ \n  \n \nPlato’s Roses (White)\, 2018. Oil on canvas\, 20 x 20″ \n  \n \nFlora in the Flowers\, 2018. Oil on canvas\, 20 x 16″ Sold \n  \n \nBright Still Life II (Aluminum)\, 2018. 2018. Oil on canvas\, 18 x 24”  Sold \n  \n \n14 Gourds Joyfully Reunited\, 2018. Oil on canvas\, 12 x 16″ \n  \n \nAl-Kindi’s Wildest Dream\, 2018. Oil on canvas\, 15 x 30″ Sold \n  \n \nStill Life with Halo\, 2018. Oil on Masonite\, 16 x 20” Sold \n  \n \nBy the Sea\, By the Sea\, 2018. Oil on canvas\, 11 x 14” Sold \n  \n \nCommodity Ghosts in Limbo\, 2017. Oil on canvas\, 10 x 20” Sold \n  \n \nOut of the Light into the Light\, 2017. Oil on canvas\, 12 x 24” \n  \n \nGolden Swan Departing for the Light of Other Suns (Aluminum)\, 2018. Oil on canvas\, 16 x 20” \n  \n \nBright Still Life Between Parted Lemons (Aluminum)\, 2018. Oil on Masonite\, 18 x 24” Sold \n  \n \nStill Life between Two Pears\, 2017. Oil on canvas\, 16 x 20″ Sold \n  \n \nStill Life with Mexican Glasses\, 2018. Oil on Masonite\, 12 x 16” Sold \n \nStill Life with Violin\, Local Peaches and Parted Gazelles\, 2018. Oil on Masonite\, 16 x 20” \n  \nThe Game of Life\, 2018. Acrylic and oil on Masonite\, 12 x 16” Sold \n \nModern Still Life with Mexican Glass\, Vivid Memories\, 2017. Oil on Masonite\, 16 x 20” Sold \nFour Onions for C.W.\, 2017. Oil on canvas\, 12 x 9″ \nA Green Stallion with Bright Tape\, 2017. Oil on canvas\, 12 x 9″ \nGoya’s Onion\, 2017. Oil on canvas\, 8 x 10″ Sold \n			\n				\n				\n				\n				\n				Les Yeux du Monde is excited to present for the first show of the fall season\, David Summers: Out of the Light into the Light. This show will feature the latest dazzling still life paintings of art historian\, critic\, philosopher\, and painter David Summers. As the William R. Kenan\, Jr. Professor of Art Theory and Italian Renaissance Art at the University of Virginia from 1981 to 2015\, he wrote plenty about these areas\, including the books Michelangelo and the Language of Art (1981) and The Judgment of Sense (1987).  But his concerns and contributions have been much more wide-ranging than Renaissance art and current theory\, amounting to none other than a re-reading and re-writing of the way Art History has been done since its inception\, to be much more inclusive of all traditions—a World Art History laid out in great detail in his internationally influential 700+ page book\, Real Spaces. World Art History and the Rise of Western Modernism (2003). Drawing from this book\, he wrote the manifesto“To a Museum of World Art” for the Louvre Abu Dhabi\, arguing that art and its history crosses all boundaries of time and nationality to elucidate our shared humanity.  In addition to his scholarly concerns and books\,  most recently Vision\, Reflection and Desire in Western Painting (2007) and his current endeavor\, Pathos\, Sympathy and Empathy in Art\, Summers has always painted and he is just as stellar in his handling of concept through paint as he is through words. \nSummers writes “I have spent my whole life as a painter trying to paint light. I came to understand Cezanne (from whom it seemed to me I took my bearings) to have made paintings that in some sense we do not look into\, as if their forms were just more things we see.  Instead\, paintings are themselves fields of living light….and out of their light beautiful things may appear.  Beauty has become a kind of B-word\, avoided in favor of supposedly more truthful dreariness and ugliness.  But light is beautiful\, and\, as a great philosopher said\, if the world is in fact one of suffering\, our obligation is not to add to the general malaise.”  In this same spirit Summers offers his “Happy Still Life” series\, works that are ebullient\, playful and colorful\, abounding in layers of imagery\, light and hidden meanings.  His sense of humor and great empathy for all things human and hopeful infuse his art with lasting brilliance and strength.
URL:https://www.lydmgallery.com/events/david-summers-out-of-the-light-into-the-light/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180609
DTEND;VALUE=DATE:20180716
DTSTAMP:20260504T125114
CREATED:20200817T173216Z
LAST-MODIFIED:20260119T212405Z
UID:28079-1528502400-1531699199@www.lydmgallery.com
SUMMARY:The Livestock Marker Show: Gwyn Kohr\, Kathy Kuhlmann\, Russ Warren
DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n				\n				\n					\n				\n				\n				\n				\n				Gwyn Kohr \nGwyn Kohr\, Infinite Rhythm\, 2018. Acrylic and livestock marker on canvas\, 48 x 60″. sold \n \nGwyn Kohr\, Les Fleurs I\, 2018. Acrylic and livestock marker on canvas\, 56 x 56″ \n \nGwyn Kohr\, Les Fleurs II\, 2018. Acrylic and livestock marker on canvas\, 48 x 48″ \n \nGwyn Kohr\, Strata II\, 2018. Livestock marker\, gold leaf and oil stick on wood panel\, 40 x 30″ \nKathy Kuhlmann \n \nKathy Kuhlmann\, Blue Ridge Landscape I\, 2018. Livestock marker on paper\, 30 x 22″ \nKathy Kuhlmann\, Gibber’s Rooster\, 2016/2018.  Photo Transfer\, Acrylic\, Oil Sticks\, Livestock Marker on Paper\, 22 x 24” \nKathy Kuhlmann\, Bernie\, 2016. Livestock marker and oil stick on paper\, 30 x 22″ sold \n \nKathy Kuhlmann\, Red Barn\, 2016. Photo transfer\, acrylic\, livestock marker\, oil stick on paper\, 22 x 30″ \n  \nRuss Warren \nRuss Warren\, Bull LXII\, 2017. Ink\, acrylic\, livestock marker\, oil stick and scraper on paper\, 30 x 22″ \n \nRuss Warren\, Bull LXII\, 2017. Ink\, acrylic\, livestock marker\, oil stick and scraper on paper\, 30 x 22″ sold \nRuss Warren\, Bull XLIII\, 2017.   Ink\, acrylic\, livestock marker\, oil stick and scraper on paper\, 30 x 22″ \n \nRuss Warren\, BullI\, 2017. Ink\, acrylic\, livestock marker\, oil stick and scraper on paper\, 30 x 22″ \n			\n				\n				\n				\n				\n				From June 9 through July 15\, Les Yeux du Monde will feature paintings using livestock markers as the medium by Gwyn Kohr\, Kathy Kuhlmann and Russ Warren. Kohr and Kuhlmann have been taking studio critique classes from Warren for over six years. Early in 2014\, Kohr brought Warren some livestock markers that her husband used to mark his cattle. Warren was captivated by these inch-wide sticks that came in myriad bright colors from neon yellow to silver\, pink\, purple and more\, and soon he began ordering them by the box load. As a Texan who grew up with cattle\, he liked their intended use\, but he also liked their “fluidity when activated” and that they were easily manipulated for over 24 hours before drying. Plus\, he exclaims\, “they are light-fast and weather resistant…all for a fraction of the cost!” (of traditional oil sticks.) His enthusiasm was infectious and soon Kohr and Kuhlmann joined his journey of experimentation with this new medium which\, as the exciting work by each artist shows\, proves to be endlessly diverse in its use and expression. \nGwyn Kohr enhances her brilliantly hued ambitious in scale paintings of flowers or abstractions with the livestock marker. She layers them over her paintings adding high keyed color and texture or scumbling that creates dynamism and three-dimensionality. Kathy Kuhlmann uses the livestock marker for its own expressive potential in her paintings of favorite creatures like the crows and roosters and also as a compliment to her photo transfer paintings in which she transfers images from photos to paper or canvas\, evoking a hazy surreal atmosphere. In these she uses the medium for added color and linear detail within the space of the painting or she extends the imagery of the photo transfer into a painted frame\, revealing that the livestock marker surprisingly can be mixed to bring about most any hue that more traditional mediums can create. Warren’s excursion with the medium since 2014 has taken many forms\, but he always uses it on paper primed with acrylic and enhanced by ink or oil stick and “scraper” a tool he invented to remove and reveal earlier layers of color. His imagery has ranged from his own Picasso-like Combines that evoke many sides of a face or figure in one painting\, to a series of day-glo  Skyline Drive Wildflowers\, to his most recent series of 100 Bulls. Bulls have always been a favorite subject for his art and the livestock marker has inspired him to return to the subject with great fervor. The result: a herd of humorous and delightful compositions in all colors and expressions\, revealing Warren’s mastery of line\, layering and medium.
URL:https://www.lydmgallery.com/events/the-livestock-marker-show-gwyn-kohr-kathy-kuhlmann-russ-warren/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170825
DTEND;VALUE=DATE:20171002
DTSTAMP:20260504T125115
CREATED:20200217T185511Z
LAST-MODIFIED:20240108T183553Z
UID:28101-1503619200-1506902399@www.lydmgallery.com
SUMMARY:Russ Warren: New Paintings and Sculpture
DESCRIPTION:Exhibition WorksPress Release\n				\n				\n					\n				\n				\n				\n				\n				 My Own Logic\, 2016. Acrylic on canvas\, 72 x 60″ \n Moon Supreme\, 2016. Acrylic on canvas\, 48 x 72″ \n Truth or Consequences\, 2017. Acrylic on canvas\, 48 x 72″ \n Twelve Minutes in Valencia\, 2017. Acrylic on canvas\,48 x 72″ \n \nSherman\, 2017. Painted plaster\, 66 x 9 x 11″ \n \nBlue Horse\, 2016. Painted plaster\, 47 x 30 x 12″ \n \nRed Horse\, 2016. Painted plaster\, 36 x 30 x 11″ \n \nSelf Portrait: Fear of Math\, Sherman\, Mrs. Myers’ Corner\, ABC\, 2017. Painted plaster \n \n			\n				\n				\n				\n				\n				Les Yeux du Monde is pleased to present Russ Warren: Paintings and Sculpture from August 25 through October 1 2017.  Although best known for his paintings\, Russ Warren has also made sculpture intermittently since 1971. He returned to this medium in earnest after seeing the galvanizing Picasso Sculpture show at the Museum of Modern Art in New York in late 2015. The show at LYdM will focus on his art in both mediums and in literal communication with one another. A veteran of the art world\, having shown with major galleries in New York and Chicago and in important museum exhibitions in the U.S. and abroad since the 1970s\, Warren has always been fascinated by the dynamics of art exhibitions and what happens to art when it moves from a studio to an exhibition space.  He writes “You live in the studio with your paintings and work and rework them until you find confidence to show them to the world. You think you know them inside and out. Then the opening happens and suddenly you see your paintings like you never have seen them before.” To highlight the strange psychological experience that happens between the viewer and the painting\, and by extension between the artist as viewer watching this interaction\, Warren will interject his own surrogate viewers into the mix. They take the shape of humorous headless figures created in wood\, chicken wire and plaster and painted in layers of undecipherable words\, formulas and numbers. They are wildly gesticulating or calmly viewing (though with bodies not eyes) the huge diptychs on the wall\, composed of overlapping lines of animals\, skulls\, figures and nature in bold colors and staccato brushwork. The resulting ensembles seem caught in a play of mysterious communion and attempted communication across chasms of this world and the next. \nAlso on view in the rear gallery will be a selection of Warren’s latest livestock marker paintings\, created in acrylic\, ink\, oil stick\, and actual livestock markers used for marking cattle. In these he returns to another favorite subject of his—the bull. In typical Warren fashion\, his beasts are far from menacing.
URL:https://www.lydmgallery.com/events/russ-warren-new-paintings-and-sculpture/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20170331
DTEND;VALUE=DATE:20170508
DTSTAMP:20260504T125115
CREATED:20230407T194317Z
LAST-MODIFIED:20240108T183621Z
UID:30605-1490918400-1494201599@www.lydmgallery.com
SUMMARY:Janet Bruce: Water in the Desert
DESCRIPTION:Exhibition WorksPress ReleaseInstallation Shots\n				\n				\n					\n				\n				\n				\n				\n				\n\nPlease enable JavaScript to view the artwork.\n			\n				\n				\n				\n				\n				Les Yeux du Monde is pleased to present Water in the Desert: New Paintings by Janet Bruce from March 31 – May 7\, 2017.  Janet Bruce is well known for her masterful oil paintings that merge gestural and expressive line with Mark Rothko like horizontal spaces and veils of color. A studio major at Amherst college\, where she had classes with Abstract Expressionist Grace Hartigan\, Bruce continued her studies with master classes at the Art Institute of Boston and at the Corcoran in D.C. with William Christenberry.  She has exhibited widely and is in collections throughout the U.S. and abroad\, including the Emily Couric Cancer Center in Charlottesville. In 2016\, she was awarded two prestigious fellowships and residencies—one at the Virginia Center for the Creative Arts in Amherst VA and another in Assisi\, Italy at the Arte Studio Ginestrelle. The paintings she will exhibit in this show are inspired by her time in these places and also by her current work with Maurizzio Pellegrin\, director of the National Academy in New York. She writes: “My paintings are a conversation about displacement and memory…[they] start with a remembered experience of a place\, a landscape\, or an interior. Using forms within forms\, inscribed lines\, and large planar shifts\, I explore the light\, color\, and structural relationships of an imagined space.” Her chosen vertical format also amplifies the viewer’s direct physical and emotional experience with the work. She writes: “I paint to create visual statements that reverberate within.” The mysterious light filled canvases to be shown in Water in the Desert truly do “reverberate within.” \n			\n				\n				\n				\n				\n				Installation shots coming soon.
URL:https://www.lydmgallery.com/events/janet-bruce-water-in-the-desert/
LOCATION:Les Yeux Du Monde\, 841 Wolf Trap Rd\, Charlottesville\, VA\, 22911\, United States
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END:VCALENDAR