Jeff Muhs was born in Southampton, New York on June 24th 1966. His early interests in art were encouraged by his parents, Captain Fred and Geraldine Muhs. Fred Muhs, himself an artist and third generation hunting and fishing guide, instilled in Jeff an intimate knowledge of their local natural environment. Thus the barrier beach of Long Island’s south shore would later become the heart of the inspiration for Jeff’s work. It was in these early years that Jeff, also a world champion sculptor first learned the art of wood sculpting from his father. It is this traditional and exacting art form that developed in Jeff a dedication and penchant for excellence he has carried throughout his life.
From 1984 to 1988 Jeff attended the School of Visual Arts in New York City, from which he received a Bachelors degree in Fine Art. It was there that he had his first formal art training and developed the techniques and tastes that would later shape his artistic aesthetics. After graduation, he stayed in New York City and worked as an illustrator and studio sculptor. Three years later, unsatisfied with the direction of his career and stifled by the limitations of commercial artwork, Jeff returned to Southampton to pursue his own artistic development. It was through his own analysis of art history and what it taught him that Jeff began the evolution toward what his work constitutes today.
Over the last fifteen years Jeff has tirelessly worked to develop his painting aesthetic. Synthesizing and simplifying, divining the purest form and expression of his true subjects; light and color. Today, after a ten-year hiatus from sculpting, Jeff has returned to explore the art form in new materials, ie: plastic and concrete. Jeff’s now mature and liberated artistic vision enables his further progression within contemporary art.
2012 ‘The New Modern’ Melissa Morgan Fine Art, Palm Desert, CA
2011 ‘The Color of Desire’, RVS Fine Art, Southampton, NY
‘Outliers’, Cheryl Hazan Gallery, New York, New York
2010 ‘Tales of Wild Orchids’, RVS Fine Art, Southampton, NY
2009 ‘The Splendid Alliance’, RVS Fine Art, Southampton, NY
‘Form and Formlessness’ Anelle Gandelman Fine Art, Larchmont, NY
2008 ‘New Paintings and Sculpture’, RVS Fine Art, Southampton, New York
‘Jeff Muhs’, Cheryl Hazan Gallery, New York, New York
‘Jeff Muhs: New Work’, MMFA, Palm Desert, California
2007 ‘Jeff Muhs: Painter, RVS Fine Art, Southampton, New York
‘Pelagic Variations’, 212 Gallery, Aspen, Colorado
2006 ‘Recent Landscapes, Lisa Kurts Gallery, Memphis, Tennessee
2005 ‘Uncommon Ground’ RVS Fine Art, Southampton, New York
2004 ‘Recent Paintings’ Lisa Kurts Gallery, Memphis, Tennessee
‘One Who Has Conquered the Sky, RVS Fine Art, Southampton, New York
‘New Paintings’, David Floria Gallery, Aspen, Colorado
2003 ‘The Exquisite Thing’, RVS Fine Art, Southampton, New York
‘Rare Earth’, Lisa Kurts Gallery, Memphis, Tennessee
‘Select Works’, RVS Fine Art, Southampton, New York
2002 ‘Light Architecture’, Lizan Tops Gallery, Easthampton, New York
‘Recent Paintings’, Takohl Design Gallery, Chicago, Illinois
2001 ‘Beyond This Horizon’, Lisa Kurts Gallery, Memphis Tennessee
‘Jeff Muhs, New Works’, Takohl Design Gallery, Chicago, Illinois
‘Jeff Muhs’, Galerie 224, Laguna Beach, California
‘Ghost Ships’, RVS Fine Art, Southampton, New York
‘When Waters Fall’, Bruce R. Lewin Gallery, New York, New York
2000 ‘Abstract Landscapes’, Lisa Kurts Gallery, Memphis Tennessee
1999 ‘No Blade of Grass’, RVS Fine Art, Southampton, New York
Detailed Description :
In my constant studies of art history I became very interested in iconic images from art. In particular, the intangible characteristics that enable some works of art to transcend time and generations and become a part of our collective culture.
In approaching great works from renaissance art you are confronted by true masters of image making and artistic prowess. As a classically trained artist, I am also quite interested in the mastery of artistic skill, draftsmanship, and craftsmanship, in its appreciation and in its negation from art in the later half of the 20th century.
Upon coming across Ingres painting 'The Odalisque' I was struck by Ingres' mastery embodied in this enduring image. I began a quest to truly understand his painting in an artistic, psychological, and cultural sense. I broke down the painting into its basic elements and their relation to the stylized female form. I observed the Odalisque, her expression and stature and how it related to the culture of her time and ours. All in an effort to distill the magical quality that this work off art will carry throughout time. This led me to a process of deeper study, deconstruction and rearranging of other iconic images from art history.
The appropriation of the images themselves endows my new works with some of the power of the originals. Understanding this and combining it with new artistic elements has led me to a body of work for a contemporary audience that relates culture and art history to our humanity. The series I am proposing for “Young Masters” is empowered by these magical qualities and contextualizes this artistic mastery for our time.
James Rieck is a faculty member at the Corcoran College of Art and Design in Washington, DC. He earned both his MFA and his BFA from the Maryland Institute College of Art, attended the Skowhegan School of Painting and Sculpture, and the Glasgow School of Art. He has shown at the Flag Foundation, New York, Brattleboro Museum, VT, the Corcoran Museum, Washington, DC and Brigham Young University, UT. Rieck's work is present in the Burger Collection, the Bollag-Rothschild Collection, Switzerland, and the Chadha Collection, The Netherlands, among others. Rieck lives and works in Baltimore and has been represented by Lyons Wier Gallery since 2003.
Detailed Description :
James Rieck’s artwork continues to be inspired by and gleaned from retail sales catalogs. In his newest painting series, “Auto Erotic,” Rieck has set his sights on images of 1965 Mustangs advertised for sale on ‘Craigslist-type’ web sites and glove ads online. Combining the old with the new, Rieck creates black and white compositions that appear like vintage 1960’s advertisements or old movie stills. This sense of nostalgia, albeit false, teeters on the brink of the Surreal. There is something very familiar in these images yet something very foreign, and it is this disconnect that drives the narrative properties of “Auto Erotic.”
Cayce Zavaglia received her MFA from Washington University, St. Louis, MO and BA from Wheaton College, Wheaton, IL. Her embroideries have been shown at cultural institutions such as the Brattleboro Museum, VT, Textile Arts Center, Brooklyn, NY, Staten Island Institute of Arts and Sciences, Staten Island, NY, Craft Alliance, St. Louis, MO and profiled in national publications such as Elle Décor, Surface Design Magazine, Fiber Arts Magazine and New American Paintings. Zavaglia’s work is part of the permanent collection at the University of Maine, Museum of Art, Bangor, ME, the West Collection in PA and the Shoeni Collection in Hong Kong, among others. The artist lives and works in St. Louis, MO.
2012 Resourced, Group Exhibition, Lyons Wier Gallery, New York, NY
2011 Multiple Stitches, Solo Show, Lyons Wier Gallery, New York, NY
2011 Here & Now, Inaugural Exhibition, Lyons Wier Gallery, New York, NY
2011 Storylines: Contemporary Embroidery, Craft Alliance, St Louis, MO
2010 SOFA Santa Fe, NM (Lyons Wier Gallery, New York, NY)
2010 Cutting Edge, Textile Arts Center, Brooklyn, NY
2009 Pulse Miami (Lyons Wier Gallery, New York, NY)
2009 Painting with Wool, Lyons Wier Gallery, New York, NY
2009 Pulse NY, (Lyons Wier Gallery), New York, NY
2009 Narrative Thread, Lyons Wier Gallery, New York, NY
2008 As Others See Us, Brattleboro Museum, VT
2008 Summer Salon, Lyons Wier Ortt Gallery, New York, NY
2008 Pulse New York (Lyons Wier Ortt Gallery), New York, NY
2007 Material Attitudes, Regional Arts Commission, Saint Louis, MO
2005 About Faces: Portraits Past and Present, Staten Island Institute of Arts and Sciences, Staten Island, NY
2005 Portrait, Space B Gallery, New York, NY
2004 Women Only, Elliot Smith Contemporary Art, Saint Louis, MO
2000 Cecille R. Hunt Gallery, Saint Louis, MO
1999 Adams Hall Gallery, Wheaton, IL
1999 Innsbrook Estates, Innsbrook, MO
1998 Critical Mass, Saint Louis, MO
1996 Craighead-Green Gallery, Dallas, TX
Detailed Description :
Originally trained as a painter, Cayce Zavaglia switched to embroidery eleven years ago in an attempt to reference an embroidered piece she had made as a child growing up in Australia. Zavaglia’s portraits of friends and family are hand sewn using crewel embroidery wool and take approximately 6-8 months to complete. From a distance, they read as photo-realistic paintings, and only after closer inspection does the work’s true construction reveal itself.
Zavaglia has developed a technique which has been described as “Modern Pointillism,” that allows her to blend colors and establish tonalities that truly resemble the techniques used in classical oil painting. The direction in which the threads are sewn mimic the way brush marks are layered within a painting which, in turn, allows the allusion of depth, volume, and form. Her stitching methodology borders on the obsessive. This system allows her to visually evoke painterly renditions of flesh, hair, and cloth.
Cayce Zavaglia’s embroidered portraits have facilitated her growing interest in a more re-contextualized approach to painting. By eliminating the use of paint to create her portraits and yet giving the illusion that it is still present, has allowed Zavaglia to further tighten the tension between portrait and process and ultimately propose a new definition for “painting”.
Her work has the remarkable ability to conceptually transport the viewer into the emotional make-up of the sitter, creating a dialogue between each piece and its audience. This capacity moves her work beyond its technical prowess and into the realm of Conceptual Realism.
Cayce Zavaglia Press Release