#Andrea Belag

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“Valentine”, 2022, oil on linen

(“Braid”, 2022, oil on linen and detail shot)

The two colorful paintings above are from Andrea Belag’s 2023 solo exhibition, Currents, at Bienvenu Steinberg & J in New York.

From the gallery’s press release-

Since the 1990s, Belag has constantly modified her approach to abstraction through various transitions and mutations. Her internal genealogy matters as much as her relationship to a tradition of abstraction. In the words of artist and critic Julian Kreimer: “it’s not hard to metaphorize those traces, lines left behind by larger swaths of paint that were wiped away, lines whose own shifting colors reveal how they are made by what they’ve touched and changed. But as with so many of Belag’s paintings, the point isn’t to nail down the metaphors (…) Belag’s work becomes an edge condition for painting without flirting with minimalist near-nothingness; it tests out where beauty can emerge, and what we can get to work. It opens up from a few wiped shapes into a sophisticated object able to transport one into a reverie about slippage, slipping away, the here and not hereness of life, death, and the varieties of love”.

Geometry and order have progressively given place to swirling swaths of color, solidity replaced by suspended motion. Painting is an all consuming action. She paints standing up, leaning over and often walking around the canvas placed horizontally. It starts with the arm and as she walks around the canvas her whole body gets involved. Transparent colors on the surface are not fixed and can create form or dissolve into light. She rubs, smudges, and scraps to create translucent, softly luminous surfaces where the brushwork is strikingly visible. “My paintings are contemporary because I paint in the here and now. It’s unavoidable. The artists I feel indebted to are Henri Matisse, Mary Heilmann, Joan Mitchell, Gerhard Richter, Bill Traylor, and Japanese Zen gardens. Style is a dead-end, but I have a point of view. I love transparency and the touch of materials, so I have created a way of painting where I make this possible. I use mostly transparent pigments and fine linen, and I paint wet into wet. The marks are on one layer of the painted surface with very little overlap or pentimento. Color makes space and light come through the paint and emotion comes through as well. There is fear and desire in painting, and that’s addictive. Haptics are the touchstones.” (Andrea Belag, 2023)

Her current solo exhibition, Twombly’s Green, opened this week at Steven Harvey Fine Art Projects.

From their press release-

This grouping of work is, as the title suggests, inspired by Belag’s recollection of Cy Twombly’s use of the color Hooker’s green in his “Pond Paintings.” She writes-

These paintings are inspired by my memory of Twombly’s green and white paintings that I first saw in the Menil Collection in Houston in 2015. I was stunned by his paint handling and his use of Hooker’s Green. Since then, I learned he painted quickly and directly with his hands. Discovering the “Pond Paintings” was unexpected and I kept thinking about them. Hooker’s green is opaque and dark. But the dark value doesn’t overwhelm the hue. Instead, there is richness and depth without a trace of yellow. When I identified the pigment and started to paint with it, I felt a vibration. There was a time when painting with green was taboo and now it is ubiquitous. Is green in the zeitgeist?

All painted within the last twelve months, these works are a continuation of the artist’s practice of lush, energetic abstraction. Playing with circularity in an ongoing attempt to “get away from the grid,” Belag uses color as forms in space, bodies set in motion. Citing foundational inspirations in Matisse and Guston, who she later studied with at the New York Studio School, Belag’s work can also be related to vanguard practitioners of 80s abstraction such as Bill Jensen, David Reed and Mary Heilmann. Her immediate peers Christopher Wool and Joyce Pensato are also compass points in the stripped down dedication to raw painterly brio they share.

This exhibition is on view until 4/13/24.

[mtaartsdesign]

Andrea Belag’s "Brooklyn Transitions" (2018) at Avenue U (F) station celebrates the energy and movement of New Yorkers across 30 glass panels installed on the northbound and southbound platforms. Her gestural mark-making mirrors the movement of the human body in space, while her vibrant palette pulls colors from the surrounding neighborhood.

Bold brushstrokes and a continued investigation of abstraction prevail in Belag’s recent work, on view in her solo exhibition at Bienvenu Steinberg & J in Manhattan. “Currents” is on view through March 23. Photos: Farzad Owrang

[cosmicanger]

Andrea Belag

SAIL, 2023

Oil on linen

22 × 26 in | 55.9 × 66 cm

[topcat77]

Andrea Belag

[beer-buzz]

Andrea Belag

[cyborgsmanifest]

Andrea Belag

[abstractlovin]

Andrea Belag

[thecolorblockcurator]

Morning Watercolor 14, Andrea Belag 

[joesartoftheday]

Andrea Belag

[theglaze]

Andrea Belag

[dermontag]

Kampf gegen den Abstieg Kerber und Co. droht K.o. gegen Kasachstan 15.04.2022, 14:22 Uhr Es ist ein schlechter Start in die Auswärtspartie: Gegen Kasachstan drohen die Tennis-Damen um Angelique Kerber die Chance auf die Finals des Billie Jean King Cups zu verspielen. Zwei Pleiten zum Auftakt bedeuten sogar, dass ein Duell um den Abstieg droht. Das deutsche Tennisteam um Angelique Kerber steht kurz davor, das Finalturnier des Billie-Jean-King-Cups zu verpassen. Nach den Auftakteinzeln liegt die Auswahl mit der dreimaligen Grand-Slam-Siegerin an der Spitze in Kasachstan 0:2 zurück. Kerber und Laura Siegemund verloren ihre Matches auf dem Sandplatz in Nur-Sultan - nun droht ein Duell um den Abstieg. Die 34-jährige Kerber unterlag der Weltranglisten-52. Julija Putinzewa 6:3, 3:6, 2:6. Siegemund war anschließend gegen die kasachische Nummer eins Elena Rybakina beim 0:6, 1:6 chancenlos. Am Samstag (ab 9 Uhr MESZ) sind zwei weitere Einzel und ein Doppel angesetzt, jede weitere Niederlage bedeutet das Aus für die Finalrunde (8. bis 13. November) und eine Zitterpartie in den Play-offs um den Verbleib unter den Topteams (11./12. November). "Es war für mich das erste Match auf Sand, was für mich nie einfach ist", sagte Kerber zu ihrer Niederlage auf dem weniger geliebten Belag. "Es ist schade und natürlich bin ich auch enttäuscht. Am Ende versuche ich das Positive rauszunehmen: Ich bin nach Kasachstan gekommen für Deutschland, um fürs Land zu spielen. Ich habe alles gegeben auf dem Platz." Kerbers schwaches Frühjahr hält an Für Kerber setzt sich nach ihrer durch Corona beeinträchtigten Vorbereitung das schwache Frühjahr fort. Ihre einzigen beiden Saisonsiege gelangen ihr in Indian Wells. Bei den Australian Open, in Katar und Miami war nach dem ersten Match Schluss. Gegen Putinzewa kassierte sie nach gutem Start und knapp zwei Stunden Spielzeit ihre erste Niederlage im dritten Aufeinandertreffen. Mehr zum Thema Siegemund hatte zwar zuletzt im Doppel zwei Titel und Selbstvertrauen gesammelt, nach einer langen Knieverletzung fehlt ihr aber Spielpraxis, das zeigte sich im Match gegen Rybakina, Nummer 19 im WTA-Ranking. Nach der Absage von Andrea Petkovic stehen noch Jule Niemeier und Anna-Lena Friedsam im deutschen Aufgebot. Am Samstag bestreiten voraussichtlich Kerber und Rybakina das erste Match. Deutschland hat den Mannschaftswettbewerb der Frauen, der früher Fed Cup hieß, zweimal gewonnen (1987 und 1992). Vor acht Jahren stand das Team zuletzt im Endspiel (1:3 in Tschechien), schon damals mit Kerber an Position eins. Im vergangenen Jahr wurde erstmals ein Finalturnier der besten zwölf Mannschaften ausgetragen. In Prag schieden Kerber und Co. in der Gruppenphase aus.

[wiadomosciprasowe]

Fortsatt oppgang i fjellhyttemarkedet

https://www.y6.no/fortsatt-oppgang-i-fjellhyttemarkedet/

Fortsatt oppgang i fjellhyttemarkedet

Foto: Solfrid Sande Dato: 12-02-2020 11:00 CET Opprinnelig tittel på pressemeldingen: Fortsatt oppgang i fjellhyttemarkedet Kategori: , Økonomi, finans Bygg, eiendom

Prisene for fritidsboliger på fjellet steg med 2,6 prosent det siste året. Den typiske fritidsboligen på fjellet i Norge koster nå 2.000.000 kroner.

Prisene for fritidsboliger på fjellet steg med 2,6 prosent det siste året. Den typiske fritidsboligen på fjellet i Norge koster nå 2.000.000 kroner.

Interessen for fritidsboliger på fjellet er stabil og fra februar 2019 til januar 2020 ble det solgt 3 899 fjellhytter i Norge – en oppgang på 2,4 prosent fra foregående år.

Kommunene Trysil, Ringsaker (Sjusjøen), og Krødsherad og Sigdal (Norefjell og Haglebu) topper statistikken over flest omsetninger, mens de høyeste medianprisene finner vi i kommunene Øyer (Hafjell), Hol (Geilo, Uastaoset og Haugstøl) og Flå.

– Den sterke prisutviklingen i markedet for fjellhytter forsetter for femte år på rad. Men veksten i prisene er avtagende sammenlignet med de fire siste årene, sier administrerende direktør Henning Lauridsen i Eiendom Norge

– For sesongen 2019/20 er det satt ny rekord i antall omsetninger, og vi ser foreløpig ingen tegn til at interessen for å kjøpe fjellhytte vil dempes. Mange husholdninger går med planer om å realisere hyttedrømmen og gjør det, noe både våre tall for brukthytter og tallene for bygging av nye hytter viser.

– Enkelte områder har hatt en markant økning i antall omsetninger sist år; dette gjelder spesielt kommunene Trysil, Hol og Sirdal, sier Lauridsen.

Gjennomsnittlig salgstid øker fra 91 til 101 dager. Raskest går det i Kvam med 49 dager. Tregest går det i Bykle (Hovden mfl.) med 137 dager.

– Salgstiden er normalt lenger i fritidsboligmarkedet enn i det ordinære boligmarkedet, og gjennomsnittlig salgstid har gått vesentlig ned fra toppen i 2015, men har steget de siste to sesongene, sier Lauridsen.

I snitt ble fritidsboliger på fjellet solgt 2,5 prosent under prisantydning.

– Selgerne må fremdeles belage seg på å akseptere en pris under prisantydningen, noe som historisk er normalt i hyttemarkedet. Utbudet av fjellhytter er stort i de aller fleste områdene vi måler i statistikken. Dette gjør at kjøperne har mye å velge blant og gir dem god tid til å fatte en kjøpsbeslutning, avslutter Lauridsen.

Ny episode av Boligbobla

Samtidig med ny fritidsboligprisstatistikk slipper Eiendom Norge også en ny episode av podcasten Boligbobla. Tema er fortsatt vekst for fjellhytter og behov for hyttepolitikk.

Gjester er administrerende direktør Andreas Martinussen, Fredensborg Fritid og leder og sentralstyremedlem Hanne Alstrup Velure, Utmarkskommunenes Sammenslutning og Høyre.

Lytt til podcasten her.

Ytterligere informasjon:

Komplett statistikk om fritidsboliger kan lastes ned på www.eiendomnorge.no. Følg oss på twitter @eiendomsmegling #boligprisstatistikken og på Facebook.

For kommentarer:

Henning Lauridsen, administrerende direktør, mobil 997 20 485.

Finn lokal pressekontakt i utvalgte områder blant våre medlemmer her.

For øvrige spørsmål:

Erik Lundesgaard, kommunikasjonsjef, mobil 95 88 19 87.

Kilde: Pressekontor Eiendom Norge – PRESSEMELDING –

————

Om Eiendom Norges fritidboligprisstatistikk:

Statistikken er et samarbeid mellom Eiendom Norge, Eiendomsverdi og Finn.no.

Statistikken omfatter fritidsboliger annonsert på finn.no, omsatt gjennom eiendomsmegler fra februar 2019 til januar 2020 og ligger i en fjell-kommune.

Viderepublisering i media, kundebrev, analyser o.l. er tillatt for utdrag eller deler av Eiendom Norges boligprisstatistikk ved angivelse av Eiendom Norge, FINN og Eiendomsverdi AS som kilde.

Hashtags: # #Økonomi, finans Bygg, eiendom boligprisstatistikken fjellhytter

[mtaartsdesign]

"Brooklyn Transitions” (2017), Andrea Belag’s hand-painted laminated glass artwork at the Avenue U (F) station in Brooklyn, is a reflection on the literal and figurative movement of New Yorkers. Fabricated by Mayer of Munich, the oversized brushstrokes emphasize motion and the movement of the human body in space. The rich palette mirrors the blend of colors found throughout the surrounding neighborhood.

Belag's work is included in “Here, There And Everywhere: Women’s Imagination Post COVID Lockdown,” a group show curated by Liz Weiss, at Foley Gallery on the Lower East Side. The exhibit features a unique selection of women artists reflecting on varied aspects of creative experiences during and following shutdown, whether they be professional, personal, or health related. Among the esteemed group of artists are three other #MTAArts artists with permanent projects: Katherine Bradford, Sally Gil, and Maureen McQuillan. On view through October 17.

[topcat77]

Andrea Belag

 "Bronze" (2019)

 oil on canvas

[moodoofoo]

Andrea Belag Sunnyside Yards 5, 2016 monotype 33.75 x 29.5 inches

[viparts]

Confronting Loss Through Abstraction

Confronting Loss Through Abstraction

Andrea Belag, “Bronze” (2019), oil on canvas 60 x 70 inches (all images courtesy Morgan Lehman Gallery)

A mainstay of New York abstract painting, Andrea Belag’s latest exhibition, Inheritance, includes four large format canvases from 2018-19, supplemented by a pair of smaller works on wood from 2018. The disjuncture between the two sets of paintings is more than a matter of size and medium: it is…