TheGreatNude Invitational opens May 14,15 and 16 at The Roger Smith Hotel. Featuring 25 international artists working with the nude. Online Ticketing now available!

MAY 14,15,16 - DAILY ADMISSION: 12pm-6pm, $10.

MAY 14,15 - EVENING ADMISSION: 6pm-11pm, $25.
Includes our SKETCH PARTY featuring Nude Models.

MAY 13 - OPENING NIGHT RECEPTION: 6pm-9pm, $20.

Look for our us in Time Out New York, artdaily.org, and the New York Observer later this week.

(Image: Adam Miller, Scott Goodwillie, Sherry Cahmy, Bob Clyatt, Marc Vinciguerra, Daniel Maidman, Meredith Bergman, and Mary Larsen)

Peruvian artist Kukuli Velarde makes her debut at Barry Friedman LTD with an incredibly visceral show, making excellent use of the nude in her art. With boundless imagination and unbridled drama, the works are intimate, soulful compositions that are difficult to pass by. I highly recommend that everyone in the New York area make a point to expose themselves to the strong presence that is Velarde’s work.

The exhibition debuts Velarde’s work in two mediums. The first being her terracotta sculptures, and the second being her paintings on brushed aluminum. The sculptures are vessels to an antique nature, displayed as evidence unearthed from an anthropological dig. Entitled ‘Plunder Me Baby,’ the sculptures presentation, with museum-like signage, provokes an association to an indigenous cultures’ reaction to European colonization and subjugation. Each piece is categorized as to estimated date and region of ‘find.’ They are listed uncommonly, containing a quick description of personal quirks (”Bites, likes tough love”.) Both startling and amusing is the personification experienced from each piece’s face and limbs. Kukuli’s grasp of expression is remarkable as her sculptures appear if as on the verge of coming alive.

In her paintings - the ‘Cadaver’ series - Velarde uses images of conquered peoples in the context of European cultural and religious imagery. The expressions of the subjects, in comparison to Velarde’s sculptures, are less playful, but are equally as powerful. Referencing modes of accepted Western beauty such as the classical Venus, Velarde literally tries on their “skin”, inserting herself as the model in most of her primary figures. There is an uneasy marriage of cultures here, which is what makes this exhibition work so well. There is both homage and disgust, piety and betrayal, using Western culture and its iconographic art as props to make her own contemporary statements.

Finally there is a video of her late father with whom she shared a very strong bond, her passion as artist especially apparent in this emotion-filled work. Kukuli surrounds the projected video with wall drawings, referencing the time that her father caught her drawing on the wall of their home. He sensed a talent in his daughter which he encouraged over the years. The homage is creative and touching and the exhibit as a whole, remarkably fresh. Dad would be proud.

Subscribe to TheGreatNude.tv

Vigilandote, Cadaver Series, 2004
Acrylic and Oil on Steel Plate
72 x 48 inches

During my walks through New York’s gallery districts there are times that I find myself anxious for something to take my breath away. And there are times when it gets taken away not once but three times, all from artists working with the figure in very different ways.

On view at Postmasters Gallery is the current body of work by Steve Mumford, who started his ‘Baghdad Journal’ at the outset of the war in 2003. In his travels with the American military in Iraq, he made quick sketches of his experiences during moments of combat and repose. These were in turn transcribed on canvas upon his return to the studio. The new works in this show reveal a more nuanced look at war, and how it is experienced from the perspective of jihadists and our occupying military personal.

There are two nudes in the exhibit to talk about here. The small portrait of a half nude woman on a bed might be a competently rendered but unremarkable work until you notice her right arm veiled in shadow has been amputated. This then invites more scrutiny of her expression and the thoughts of a young woman whose life has been permanently altered. It gives credence to the graffiti painting in the other room lamenting “wish I was, where I was, when I was wishing, I was here.”

A large striking painting in the main gallery titled Baqubah portrays a languid moment for a group of marines cooling themselves in a murky pool of water. Most are nude and expertly rendered. Mumfords’ understanding of anatomy is on display here even through multiple tattoos on one of the men. He delivers relaxed poses with great textural passages of paint and atmosphere. As with ballet or opera, sometimes the most natural seeming movements take the greatest dexterity to pull off. I’ve been following Steve’s work for some time now and feel this is some of his best to date.

Subscribe to TheGreatNude.tv

Purple Heart, 2009, oil on linen, 36 x 24 inches

Baqubah, 2009, oil on linen, 71 3/8 x 71 1/2 inches.

Friday, February 12, 2010 marked the opening for Chelsea Gallery, Rogue Space’s show, Valentine’s Nude Workshop. The gallery featured a wide range of mediums with the figure as theme, with some artists from Barebrush.com. During the show, behind a private curtain, live drawing sessions were taking place. Inside the low-lit room were two models, striking a series a three different poses per session. In addition, TGN was able to judge the artists works from after the event.

TGN publisher Jeffrey Wiener talking with some Barebrush artists.

The following day TheGreatNude.tv publisher, Jeffrey Wiener gave a speech at the gallery on empowering artists through technology, digital marketing and social media. Make sure to check out the TGN site for more info on upcoming events, including our Great Nude Invitationals, and to see are our four favorite artist’s sketches posted online from the event.

http://www.thegreatnude.tv/rogue-space/

TGN publisher Jeffrey Wiener judging works from the contest.

Subscribe to TheGreatNude.tv

Throughout his career, Rembrandt took on a select group of students and taught them the techniques that he had spent his life perfecting. Because of the numerous works born in the academic environment that he created, many of the works are today disputed over whether the works came from Rembrandt or from one of the students, influenced by his style.

That is exactly what the show titled Rembrandt and his Pupils showing at the Getty Center until February 28th set out to show. Using a series of comparative techniques, the exhibit helps to explain the difference between a work of Rembrandt and of the fifteen pupils shown in the exhibit. Showing just over one hundred works on paper the collection highlights the brilliant simplicity in the work created between Rembrandt and his pupils.

1200 Getty Center Drive
Los Angeles, California 90049
310.440.7300

Subscribe to TheGreatNude.tv

Seated Female Nude, Rembrandt, 1661

The role of the human figure in the history of American art is a topic we appreciate here at our publication. Pulling together a survey illustrating the evolution of intellectual and aesthetic thought regarding the figure over the last two hundred years is a challenging aspiration for any museum, but that’s exactly what the National Academy set out to do in their summer/fall exhibit. In Reconfiguring the Body in American Art, 1820-2009 we see an overview of the figure as used by artists through many phases of history, illustrated with wonderful, eclectic selections from the museum’s permanent collection.

This is a great show for those who are fans of the Figurative Arts. Bravo National Academy! The show closes on November 15th.

GET A FREE SUBSCRIPTION - Read the Full Article and see more images>

Click for more info on the National Academy and Reconfiguring the Body in American Art

Forum Gallery is a favorite gallery to visit in mid-town for lovers of the figure, and it’s current exhibit does not disappoint. The Platonic Ideal, running October 1st to November 28th, includes almost thirty painters, sculptors and artists, with many pieces offering contemplations on humanity through the figure. The works fall into three main categories, paintings, sculpture and on paper works.

Of the paintings in this exhibit, several artists working directly with the figure are well represented. Reflection by William Bailey welcomes the viewer into the gallery. A female figure gazes at us, toying with her hair, her figure framed by the balance in the lines of the room surrounding her. Nearby, Prelude by Alan Feltus is similarly infused by lines, yet the tense figure in this painting is an echo of the surrounding chaos of objects surrounding this figure. Suite for Piano by Carlo Maria Mariani is a musical number - so to speak - the floating woman in this painting radiating a creative energy and physical motion.

William Bailey, Reflection. Oil on canvas, 60 x 60 in.

Alan Feltus, Prelude, 2008. Oil on canvas (47 1/4 x 39 1/4in)

Carlos Maria Mariani, Suite for Piano, 2008. Oil on canvas (50 x 31in)

Of the sculptures shown in The Platonic Ideal we saw a nice selection of early 20th century figurative sculpture. Torso by Alexander Archipenko is a wonder of simplicity, the smooth flowing lines of the the form moving into each other. Other works in this show were Female Head by Elie Nadelman and the monumental Centurione Petrificato by Igor Mitoraj, a large antiquated head, of seemingly Roman origins, and clearly heroic. Hugo Robus‘ The General, Dawn, and Elie Nadelman with Woman Dressing Another Woman’s Hair, make complete use of the figure, depicting scenes and emotions that show the expressive nature of figurative arts.

Alexander Archipenko, Torso, 1948. Terracotta (24 inches high)

Igor Mitoraj, Centurione Petrificato, 2008. Bronze (44 x 24 1/2 x 18 1/4 in)

Hugo Robus, The General, 1922. Polished bronze (19 x 19 1/2 x 7 3/8 in)

Edie Nadelman once again gains our attention with her ink sketch Untitled, showing a rough depiction of the form in motion. Philip Evergood’s At Nebuchandnezzar’s Court, a mixed media painting showing multiple figures strolling about, is a light-hearted tangent to the show’s other, more seriously contemplative works.

Philip Evergood, At Nebuchadnezzar's Court, 1927 Watercolor over pencil on paper.

Elie Nadelman, Untitled, 1912. Pen and black ink on paper (17 1/2 x 12 1/2 in)

Forum Gallery is located at
745 5th Ave # 503, New York, NY 10151

Subscribe to The Great Nude>

Jim Kempner Fine Art sits prominently on the Northwest corner of 23rd st and 10th Ave. The gallery is known for its representation of talented and successful artists; a literal and figurative corner-stone for the Chelsea art scene. So it was a great surprise to see a large nude figure stretching herself in their expansive window overlooking 23rd street. Even better was that it was one of Carole Feuerman’s latest works.

My first encounter with Feuerman’s nudes was decades ago, as a young boy in Miami. On one of my father’s art safaris to the local galleries on South Beach, he brought me by the shirt sleeve, up close to one of her startlingly realistic sculptures. The quality of realism in her works is still a remarkable thing to encounter as an adult. On many occasions since then, I’ve seen crowds of people in public gathered around her works, taking pictures. Its easy to see how one can get lost in contemplating the possibility that a human hand created the sculptures you see before you.

In her current exhibit: Carole Feuerman: Swimmers, Bathers, Nudes, we encounter her powerful works in new scales, smaller than life and quite larger than life figurative works that still defy belief. Even when unbelievably off-scale, these sculptures are still startlingly believable in their appearance. Feuerman’s choice of scales also forces the viewer to see the human body’s various surface details in blushingly close proximity. To the student of anatomy, this is an opportunity to observe human beauty in great detail.

What I most admire about Feuerman as an artist is her dedication to figurative works over the course of her long career. Aside from achieving a technical mastery of her medium and world-wide acclaim, she is still dedicated to depicting beauty in its most honest, straight-forward fashion.

I’m thrilled that her work is on exhibit in New York; this is a must see, and open until October, 31.

Jim Kempner Fine Art
is located at 501 West 23rd Street

Subscribe to TheGreatNude.tv

Monumental Shower. Sculpture, oil and resin. 59 x 48 x 29in.

Tree. Sculpture, oil and resin. 57 x w 35 x 40in.

The Survival of Serena. Sculpture, oil and resin. 42 x 80 x 38in.

Now showing at the McKee Gallery is “Unique Photographs”, an exhibit of the work of international photographer Richard Learoyd. Running until October 31st, Learoyd’s photographs blur the line between portraiture and painting. Using the figure alongside organic objects, the collection of imagery seems infused with an atmosphere of honesty and introspection. The tonality of his work is quiet and introspective, allowing the viewer to focus on the subtleties of lighting and the nuance of gesture, capturing our imagination in the process.

McKee Gallery is located at
745 5th Ave # 400,
New York, NY 10151

Subscribe to TheGreatNude.tv>

Unique Ilfochrome print image: 68 x 48in.

Unique Ilfochrome print image: 68 x 48in.

The Bernarducci Meisel Gallery is one of New York’s premier galleries for representational approaches to the figure. They’re always a great gallery to pop into any time of the year. Its been four years since we’ve seen a large exhibition of Bernardo Torrens paintings at this gallery, but on October 1st, New Paintings opens and will remain on exhibit until October 31st, featuring works created by Torrens between 2002-2009.

A master of realist technique with a tendency towards a monochrome palate, Torrens focuses crisply on the surface of his subjects, their anatomical details rendered in an absolutely convincing fashion. Some of his works are introspective compositions, portraits of people we feel we may know, others are more compositional, the model’s pose as the topic. In all of Torrens’ paintings, the technical mastery of the works themselves is an enjoyable thing to witness. Check out Bernardo Torrens this October when you’re passing through Midtown, NYC!

The Bernarducci Meisel Gallery is located at 37 West 57th St, New York, NY.

Subscribe to TheGreatNude.tv

"Laura I" 2009 acrylic on wood 25.5 x 20"

"Laura II" 2009 acrylic on wood 25.5 x 51.2"

"Katey I" 2009 acrylic on wood 19.75 x 18.125"