RECENT EXHIBITS
2017
Cosmic Shift
James Massena March
The idiom of my body of new work I like to call Op-Expressionism. It is a combination of Geometric Abstraction and Op Art techniques that I have been employing for the last 10 to 15 years with Abstract Expressionism, which is fairly new to me. My last show, “Cassini” in 2015, was when I started to merge these 3 disciplines in my painting, my premise being the exploration of outer space, like the NASA space probe of that name. “Cosmic Shift” is not about altering the trajectory of my search but merely a slight shift in focus --which is more about exploring different aspects of style than about content.
I generally start my paintings with large palette knives and brushes to build an expressionist foundation and then build on whatever chance relationships occur with precise geometric and optical techniques. I basically impose order onto chaos. A complete synthesis of the different techniques is the resulting effect. - James Massena March
James Massena March
The idiom of my body of new work I like to call Op-Expressionism. It is a combination of Geometric Abstraction and Op Art techniques that I have been employing for the last 10 to 15 years with Abstract Expressionism, which is fairly new to me. My last show, “Cassini” in 2015, was when I started to merge these 3 disciplines in my painting, my premise being the exploration of outer space, like the NASA space probe of that name. “Cosmic Shift” is not about altering the trajectory of my search but merely a slight shift in focus --which is more about exploring different aspects of style than about content.
I generally start my paintings with large palette knives and brushes to build an expressionist foundation and then build on whatever chance relationships occur with precise geometric and optical techniques. I basically impose order onto chaos. A complete synthesis of the different techniques is the resulting effect. - James Massena March
Puzzled Bipeds
Matt Dibble
The Body
It’s been said that even the angels ache for a body, sometimes. If I did figurative work what would it look like? I asked myself this question often. I soon realized that figures were part of my work for many years, an ongoing series of pen and ink drawings.
Projecting them on larger canvases I was able to find many new compositions and entanglements. I’m often asked where the figures originate. There is an ache in my body, on the outside everything is calm the inside is much different.
The postures here are not meant to be literal. I’m trying to create an impression, as simply as possible that describes my two natures. One grasping and one allowing.
This is my situation, moment to moment, day to day and year to year. Where the figures in these paintings come from is a mystery. Dominating the scene, they emerge like rebellious children seeking attention from their elders
- Matt Dibble
Matt Dibble
The Body
It’s been said that even the angels ache for a body, sometimes. If I did figurative work what would it look like? I asked myself this question often. I soon realized that figures were part of my work for many years, an ongoing series of pen and ink drawings.
Projecting them on larger canvases I was able to find many new compositions and entanglements. I’m often asked where the figures originate. There is an ache in my body, on the outside everything is calm the inside is much different.
The postures here are not meant to be literal. I’m trying to create an impression, as simply as possible that describes my two natures. One grasping and one allowing.
This is my situation, moment to moment, day to day and year to year. Where the figures in these paintings come from is a mystery. Dominating the scene, they emerge like rebellious children seeking attention from their elders
- Matt Dibble
The INEFFABLE
Recent Photographs by Catherine Redmond
Tregoning & Company takes particular delight in bringing back to Cleveland the art of Catherine Redmond, an esteemed artist who has not been exhibited here in over 20 years. During this long absence there has occurred a major career shift in her artistic expression.
Catherine Redmond is an exceptional artist who was well known in Cleveland for her atmospheric oil paintings depicting Cleveland and Lakewood. She relocated to New York City several years ago to expand on her art as well as teach at the Pratt Institute. Her work has evolved over the years, transitioning away from a colorful palette into grisaille tonality, and ultimately into photography –all the while, never growing static. You may explore this evolution by visiting her website: www.catherineredmond.com.
The current body of recent work carries may threads of imagery subtly woven through her photographs. The chromogenic prints selected for this exhibit are captured in black and white: each has a subtle yet powerful narrative depicting the surroundings in the Hudson River Valley where she now lives. Further description of such ineffable images is best left to the viewer, as the pictures speak so compellingly for themselves.
Recent Photographs by Catherine Redmond
Tregoning & Company takes particular delight in bringing back to Cleveland the art of Catherine Redmond, an esteemed artist who has not been exhibited here in over 20 years. During this long absence there has occurred a major career shift in her artistic expression.
Catherine Redmond is an exceptional artist who was well known in Cleveland for her atmospheric oil paintings depicting Cleveland and Lakewood. She relocated to New York City several years ago to expand on her art as well as teach at the Pratt Institute. Her work has evolved over the years, transitioning away from a colorful palette into grisaille tonality, and ultimately into photography –all the while, never growing static. You may explore this evolution by visiting her website: www.catherineredmond.com.
The current body of recent work carries may threads of imagery subtly woven through her photographs. The chromogenic prints selected for this exhibit are captured in black and white: each has a subtle yet powerful narrative depicting the surroundings in the Hudson River Valley where she now lives. Further description of such ineffable images is best left to the viewer, as the pictures speak so compellingly for themselves.
For Love of Zoar: The Donald & Timonthy Whitemyer Collection
February 17th - April 2017
This exhibition celebrates the Bi-centennial of Zoar Village’s founding in 1817.
Don Whitemyer assembled a fine collection of Zoar paintings executed by German-American artists best recognized as members of the generic ‘Cleveland School’: Adam Lehr, George Adomeit, August Biehle, Ferdinand Gottwald, William Sommer –all of whom delighted in weekends and trips away from Cleveland, enjoying illicit home-brewed spirits, camaraderie, and painting in both Zoar village and the adjacent countryside. Tim continued to expand the collection he inherited from his dad with purchases from the annual Whitemyer invitational show held in Zoar, made up of paintings depicting Zoar Village. Both men had close ties to Youngstown painter and Butler Museum director Clyde Singer; there are numerous paintings, drawings and prints by this American master as well represented in the Whitemyer Collection.
February 17th - April 2017
This exhibition celebrates the Bi-centennial of Zoar Village’s founding in 1817.
Don Whitemyer assembled a fine collection of Zoar paintings executed by German-American artists best recognized as members of the generic ‘Cleveland School’: Adam Lehr, George Adomeit, August Biehle, Ferdinand Gottwald, William Sommer –all of whom delighted in weekends and trips away from Cleveland, enjoying illicit home-brewed spirits, camaraderie, and painting in both Zoar village and the adjacent countryside. Tim continued to expand the collection he inherited from his dad with purchases from the annual Whitemyer invitational show held in Zoar, made up of paintings depicting Zoar Village. Both men had close ties to Youngstown painter and Butler Museum director Clyde Singer; there are numerous paintings, drawings and prints by this American master as well represented in the Whitemyer Collection.
2016
Light of Day | Light of Night: Recent Paintings
by Jamie Morse
I paint landscapes on location, still life paintings from observation, and works from memory and imagination. In my paintings, I try to capture the beauty and essence of each subject. My main focus is landscape painting, and I am constantly seeking new and diverse subjects to explore. I am interested in light, seasons, moods, and emotions inherent in the places I paint, with the goal of providing the viewer with a vivid, familiar, and memorable sense of place and time.~Jamie Morse
by Jamie Morse
I paint landscapes on location, still life paintings from observation, and works from memory and imagination. In my paintings, I try to capture the beauty and essence of each subject. My main focus is landscape painting, and I am constantly seeking new and diverse subjects to explore. I am interested in light, seasons, moods, and emotions inherent in the places I paint, with the goal of providing the viewer with a vivid, familiar, and memorable sense of place and time.~Jamie Morse
Morning Joe: Recent Photographs
I have always been searching for different ways to capture the beauty of the everyday objects and then communicate that to others. My modus operandi is to create elegant images that are tinged with my own sense of irony. Being the only one I know who does not drink nor obsess over the smallest detail about the grinding, brewing, and drinking of coffee, I thought coffee would be the perfect springboard for me.
A few years ago I began to document the abandoned coffee cups that I found casually discarded with complete disregard for the environment. Not participating in the morning ritual of slowly savoring a cup of coffee, I found myself with a perfect time slot to document the latest wave of garbage graffiti that seems to be everywhere. I would walk from Chelsea up to Midtown, down the highway to Tribeca, and then across SoHo to the Lower East Side, where I documented the detritus while I waited for the rest of the City to wake up.
- David Joseph
I have always been searching for different ways to capture the beauty of the everyday objects and then communicate that to others. My modus operandi is to create elegant images that are tinged with my own sense of irony. Being the only one I know who does not drink nor obsess over the smallest detail about the grinding, brewing, and drinking of coffee, I thought coffee would be the perfect springboard for me.
A few years ago I began to document the abandoned coffee cups that I found casually discarded with complete disregard for the environment. Not participating in the morning ritual of slowly savoring a cup of coffee, I found myself with a perfect time slot to document the latest wave of garbage graffiti that seems to be everywhere. I would walk from Chelsea up to Midtown, down the highway to Tribeca, and then across SoHo to the Lower East Side, where I documented the detritus while I waited for the rest of the City to wake up.
- David Joseph
THE SOURCE: A Life in Sculpture by
Giancarlo Calicchia
Giancarlo Calicchia
A Thrilling Act: The Art of Anthony Eterovich
Centennial Retrospective Exhibition - April 15 - August 3, 2016
Painting is the thrilling act which encompasses a battleground of contradictions all to be resolved without compromise. - Anthony Eterovich
Centennial Retrospective Exhibition - April 15 - August 3, 2016
Painting is the thrilling act which encompasses a battleground of contradictions all to be resolved without compromise. - Anthony Eterovich
A Pocket Full of Change by Michael Gill
Overtly, they are about the stories they tell--about experience shared across generations, about the place that surrounds us, and the things we value. But on another level, the investment of labor is a defining quality of these books; it took the artist thousands upon thousands of hand-pulls to meticulously create the colorful woodblock prints, not to mention the time it took to carefully place the movable type. -Michael Gill
Overtly, they are about the stories they tell--about experience shared across generations, about the place that surrounds us, and the things we value. But on another level, the investment of labor is a defining quality of these books; it took the artist thousands upon thousands of hand-pulls to meticulously create the colorful woodblock prints, not to mention the time it took to carefully place the movable type. -Michael Gill
Face the Facts by Mark Giangaspero
Opened February 19th, 2016
The current works were conceived and executed as “portraits”: images of human beings. I approach the portrait as a collection of visual facts, which create a plausible fiction. The facts are a road-map of sorts.
Another important aspect is the process. Even though there are many ways to make images today, the slow process of drawing or painting --whether pastel on paper or oil on wooden panels --allows me time to understand the surfaces and build the image. Working with these visual facts and understanding that road-map helps me to understand these images as human beings. - Mark Giangaspero
Opened February 19th, 2016
The current works were conceived and executed as “portraits”: images of human beings. I approach the portrait as a collection of visual facts, which create a plausible fiction. The facts are a road-map of sorts.
Another important aspect is the process. Even though there are many ways to make images today, the slow process of drawing or painting --whether pastel on paper or oil on wooden panels --allows me time to understand the surfaces and build the image. Working with these visual facts and understanding that road-map helps me to understand these images as human beings. - Mark Giangaspero
2015
Funny Money II by Josh Usmani
May 15th-June 19th, 2015
"Aside from enjoying himself (and he's having a ball), Usmani asks some subtle questions about authenticity and ownership, at the intersection of public and private space. Like graffitti, his embellishments grab a piece of public surface and use it as a personal billboard."- Douglas Max Utter
May 15th-June 19th, 2015
"Aside from enjoying himself (and he's having a ball), Usmani asks some subtle questions about authenticity and ownership, at the intersection of public and private space. Like graffitti, his embellishments grab a piece of public surface and use it as a personal billboard."- Douglas Max Utter
CASSINI and Beyond: Recent Paintings by JAMES MASSENA MARCH
January-April 2015
My paintings are about space, form and energy. I generally start painting without preconceived notions as to the final outcome and build space through a series of constructions and destructions. The paintings begin with a loose set of limitations and directives. I often work with an abstract idea in mind; several scientific concepts come to mind, to give me focus. I then paint freely, gradually narrowing my focus and zeroing in on a composition that depicts a solid structure, intriguing space and spontaneity of design. I am interested in complex spatial relationships that lead to a feeling of a comprehensive whole which has energy and a life of its own. I am also interested in linear movement and visual paradoxes. I do a great deal of my composing on the canvas and never know what I will end up with until I am done. For me painting is an act of discovery.
This show represents works done in 2014. It is about a dramatic change in my approach to painting. For the last several years I have been focused on my own brand of Op Art and Geometric Abstraction. I have used what I was doing in those works and combined it with abstract expressionist techniques. The blending of techniques has been very invigorating and has opened up vast new possibilities in my art… I have expanded my limitations of tight linear geometric configurations to include a very painterly approach with the use of large palette knives and brushes to apply paint. I have limited my shapes to circles and ovals for the most part. At times some of these shapes looked alittle like planets and galaxies so they became part of the Cassini Series, explorations of intergalactic space. But in the end it is all about style and the works are about just that. The titles are added after the fact and are just tags to distinguish different works. -James March
January-April 2015
My paintings are about space, form and energy. I generally start painting without preconceived notions as to the final outcome and build space through a series of constructions and destructions. The paintings begin with a loose set of limitations and directives. I often work with an abstract idea in mind; several scientific concepts come to mind, to give me focus. I then paint freely, gradually narrowing my focus and zeroing in on a composition that depicts a solid structure, intriguing space and spontaneity of design. I am interested in complex spatial relationships that lead to a feeling of a comprehensive whole which has energy and a life of its own. I am also interested in linear movement and visual paradoxes. I do a great deal of my composing on the canvas and never know what I will end up with until I am done. For me painting is an act of discovery.
This show represents works done in 2014. It is about a dramatic change in my approach to painting. For the last several years I have been focused on my own brand of Op Art and Geometric Abstraction. I have used what I was doing in those works and combined it with abstract expressionist techniques. The blending of techniques has been very invigorating and has opened up vast new possibilities in my art… I have expanded my limitations of tight linear geometric configurations to include a very painterly approach with the use of large palette knives and brushes to apply paint. I have limited my shapes to circles and ovals for the most part. At times some of these shapes looked alittle like planets and galaxies so they became part of the Cassini Series, explorations of intergalactic space. But in the end it is all about style and the works are about just that. The titles are added after the fact and are just tags to distinguish different works. -James March
2014
Christopher Pekoc: HAND MADE 2
December 2014- April 2015
This show concentrates on recent assemblages that reflect the artist’s current interests in the symbolic and realistic qualities of hands, as well as such topics as the environment, global warming, oil spills, and space.
December 2014- April 2015
This show concentrates on recent assemblages that reflect the artist’s current interests in the symbolic and realistic qualities of hands, as well as such topics as the environment, global warming, oil spills, and space.
- CLEVELAND SCHOOL ART for the new collector
- Tregoning & Company takes pleasure in offering up a collection of 20th-21st century works of art by noted artists of the “Cleveland School” that have been drawn from our large inventory of regional art, and all offered for sale at under $3,000.00.
With the rapid expansion of interest in our area’s creative output by the national art market, and the resultant rising prices for it, we believe that there has never been a better time to demonstrate that fine quality fine art does not have to be financially out of reach.
Art for the New Collector opens in T&Co’s South Gallery, complementing ARTneo’s 30th Anniversary celebration in Cleveland with “CORNERSTONE: 30 Years of Collection Building” –opening simultaneously in our North Gallery. Both exhibitions will continue through November.
- Tregoning & Company takes pleasure in offering up a collection of 20th-21st century works of art by noted artists of the “Cleveland School” that have been drawn from our large inventory of regional art, and all offered for sale at under $3,000.00.
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Kunstkammer: The Private Collection of a Gentleman
Seen in Cleveland for the first time is the entire collection of a Northern Ohio connoisseur and frequent museum donor: over 220 works of art objects and items that fascinated this remarkable retired educator and deeply committed collector. Old Master paintings and drawings, Russian, Greek and Slavic icons, Greek, Roman and Asian antiquities, Modern art, and military dress uniforms and curiosities…all are found together on view in a respectful re-creation of this collector’s home environment --one that offered an homage to the “Kunstkammer” and “Wunderkammer” environments of Renaissance and Baroque Europe. |
KALOS: Male Nude & Sport
Matt Dibble: BRACE
16 May - July 2014
“One of the most significant developments for me as an artist is that I now have places to consistently exhibit my paintings. I worked for a number years without this kind of outlet, always preparing but never knowing if my work would be seen. Today, I’m fortunate enough to have gained this type of support.
“Discovering that I’m not alone has reinforced me, allowed me to be freer in my approach to painting and all that goes with it. It has reduced doubt and added substantial energy to my creative process. I’ve learned to embrace all the necessary tasks needed to mount an art exhibition, from the craftsmanship required to make a stretcher to the intricacies of collaborating with the gallery. The whole process intrigues me.
“When I show my work in a gallery, people write about it. They purchase it, praise it and criticize it. I become not just an isolated artist working alone, but rather part of the larger conversation. While exhibitions force me to deal with both the positive and the negative, they continue to provide much needed engagement.
“Painting and drawing have always been anchors for me. Life’s pull is very strong, and I struggle to keep it from distracting me from my aim. I’ve found that the gallery is my cornerstone. It acts as a brace to sustain and keep me upright, in front of the easel, experiencing the moment.” - Matt Dibble
16 May - July 2014
“One of the most significant developments for me as an artist is that I now have places to consistently exhibit my paintings. I worked for a number years without this kind of outlet, always preparing but never knowing if my work would be seen. Today, I’m fortunate enough to have gained this type of support.
“Discovering that I’m not alone has reinforced me, allowed me to be freer in my approach to painting and all that goes with it. It has reduced doubt and added substantial energy to my creative process. I’ve learned to embrace all the necessary tasks needed to mount an art exhibition, from the craftsmanship required to make a stretcher to the intricacies of collaborating with the gallery. The whole process intrigues me.
“When I show my work in a gallery, people write about it. They purchase it, praise it and criticize it. I become not just an isolated artist working alone, but rather part of the larger conversation. While exhibitions force me to deal with both the positive and the negative, they continue to provide much needed engagement.
“Painting and drawing have always been anchors for me. Life’s pull is very strong, and I struggle to keep it from distracting me from my aim. I’ve found that the gallery is my cornerstone. It acts as a brace to sustain and keep me upright, in front of the easel, experiencing the moment.” - Matt Dibble
MOE BROOKER: Getting Back To Then
Moe Brooker made his enthusiastic return to Cleveland FEBRUARY 21, 2014 –honored with the first solo exhibition given to his paintings here in 19 years.
“Cleveland remains a special place for me, and I enjoyed every moment that I spent there. The art community was really exciting when I was teaching and living there. I left 28 years ago for Philadelphia, can you believe it? Wow!” - Moe Brooker
Moe Brooker made his enthusiastic return to Cleveland FEBRUARY 21, 2014 –honored with the first solo exhibition given to his paintings here in 19 years.
“Cleveland remains a special place for me, and I enjoyed every moment that I spent there. The art community was really exciting when I was teaching and living there. I left 28 years ago for Philadelphia, can you believe it? Wow!” - Moe Brooker
2013
This exhibition explores recent works from the studio of some of the region’s best working artists. The show offers each artist a moment to reflect on their
most recent work/s and in a short statement, describe how that work fits in that artists current creative direction. FRESH FROM THE STUDIO gives the viewer a window into the creative process—in both art and text. |
FRESH FROM THE STUDIO
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THE JANUS EFFECT
NEW PHOTOGRAPHS FROM OLD TECHNIQUES
Bill Tregoning examined remarkable contemporary photographs created employing 19th century techniques. Artist-photographer Christopher Pekoc was the conduit; he had been struck with these photographs by the quartet of artists Tregoning & Company has now invited to participate in a group show this Spring, with Chris Pekoc curating this exhibition. The simultaneous notion of looking forward and backward invokes the Roman god of the New Year: Janus –depicted in antiquity in double profile, simultaneously looking left and right.
Opening reception Friday, March 15, 2013 5 - 9PM
NEW PHOTOGRAPHS FROM OLD TECHNIQUES
Bill Tregoning examined remarkable contemporary photographs created employing 19th century techniques. Artist-photographer Christopher Pekoc was the conduit; he had been struck with these photographs by the quartet of artists Tregoning & Company has now invited to participate in a group show this Spring, with Chris Pekoc curating this exhibition. The simultaneous notion of looking forward and backward invokes the Roman god of the New Year: Janus –depicted in antiquity in double profile, simultaneously looking left and right.
Opening reception Friday, March 15, 2013 5 - 9PM
OUT FROM THE RACKS
For the pleasure of the staff, we’ve drawn together a group show from our holdings of American and European art, with a special nod to new pieces we’ve acquired in recent months. We hope you will enjoy a fresh look at beautiful paintings and works on paper that we’ve presented in the freshly repainted North Gallery, for our visitors and clients alike.
Opening reception Friday, February 15, 2013 5 - 9PM
For the pleasure of the staff, we’ve drawn together a group show from our holdings of American and European art, with a special nod to new pieces we’ve acquired in recent months. We hope you will enjoy a fresh look at beautiful paintings and works on paper that we’ve presented in the freshly repainted North Gallery, for our visitors and clients alike.
Opening reception Friday, February 15, 2013 5 - 9PM
2012
ABE FRAJNLICH: PENELOPE'S HUNGRY EYES
Tregoning and Company is proud to announce our major Spring 2012 exhibition: PENELOPE'S HUNGRY EYES: Photographs by ABE FRAJNDLICH - opening on Friday, March 16th 5-9pm as part of 78th Street Studios popular "Third Friday" Series. Abe Frajndlich will be with us along with Dr. Henry Adams on Saturday afternoon March 24th 3-5p, for a gallery talk and book signing. Henry Adams is the author of the fine essay on Abe and his work, found in this latest acclaimed book of Abe's 101 images of 20th century photographer/artists, PENELOPE'S HUNGRY EYES: Portraits of Famous Photographers --just published by Schirmer/Mosel
Tregoning and Company is proud to announce our major Spring 2012 exhibition: PENELOPE'S HUNGRY EYES: Photographs by ABE FRAJNDLICH - opening on Friday, March 16th 5-9pm as part of 78th Street Studios popular "Third Friday" Series. Abe Frajndlich will be with us along with Dr. Henry Adams on Saturday afternoon March 24th 3-5p, for a gallery talk and book signing. Henry Adams is the author of the fine essay on Abe and his work, found in this latest acclaimed book of Abe's 101 images of 20th century photographer/artists, PENELOPE'S HUNGRY EYES: Portraits of Famous Photographers --just published by Schirmer/Mosel
American art historian and Case Western Reserve University professor Henry Adams writes that “Cleveland artist Frank Wilcox (1887-1964) savored Paris in its pre-WWI days with intensity and eagerness as a cultural outsider—a Buckeye from Ohio.”
Adams has curated and written a companion catalogue for Tregoning Gallery’s exhibition, “A Buckeye in Paris: Frank Wilcox’s Paris and European Travels 1910-17."
The Cleveland exhibition, open Oct. 19 to Jan 5, 2013, of 55 paintings and sketches reflect Wilcox’s fresh and naïve view of Paris in a year that transformed the novice into a master painter.
For an artist growing up in the steely grey, industrial Cleveland, the Parisian people, vendors and relaxed casual lifestyle charmed the artist, with its vibrant and energetic commercial and social life that spilled into streets and overflowed riverbanks.
The Cleveland exhibition, open Oct. 19 to Jan 5, 2013, of 55 paintings and sketches reflect Wilcox’s fresh and naïve view of Paris in a year that transformed the novice into a master painter.
For an artist growing up in the steely grey, industrial Cleveland, the Parisian people, vendors and relaxed casual lifestyle charmed the artist, with its vibrant and energetic commercial and social life that spilled into streets and overflowed riverbanks.
