Experience Cerbera Gallery’s new exhibit “Spring Art Salon” with Editions, Photography, Painting & Sculptural Works by renowned national and international artists. Learn more
Spring Art Salon
Editions, Photography, Painting and Sculpture
May 4- June 30 , 2018
2011 Baltimore Ave, Kansas City, MO 64108
This exhibition is curated by Cerbera Gallery.
The Spring Art Salon Concept:
Originally the name of the official art exhibitions organized by the French Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) and its successor the Academy of Fine Arts (Académie des Beaux Arts). From 1725 the exhibitions were held in the room called the “Salon Carré” in the Louvre and became known simply as “The Salon”. By the mid nineteenth century the academies had become highly conservative, and by their monopoly of major exhibitions resisted the rising tide of innovation in naturalism, realism, impressionism and their successors. (www.britannica.com). In this tradition Cerbera Gallery presents the Spring Art Salon ’18.
We have four featured artists representing different disciplines:
Marko Spalatin was born in Zagreb, Croatia. He immigrated to the US in his late teens, and earned BS and MFA degrees from the University of Wisconsin in Madison. Spalatin has been exhibiting his artwork for over 40 years. His prints and paintings have been featured in over 70 solo exhibitions across the US, as well as in France, Croatia, Canada, Lebanon, Italy, and Slovenia, and in numerous group exhibitions in 12 countries. Spalatin’s work is represented in many private, corporate, and public collections, including: the Museum of Modern Art, New York City, New York; the Tate Gallery and the Victoria and Albert Museum, London, UK; the Musée d’Art Moderne and the Bibliothèque Nationale, Paris, France; the Butler Institute of American Art, Youngstown, Ohio; the Cleveland Museum of Art, Cleveland, Ohio; the Brooklyn Museum, Brooklyn, New York; the Library of Congress, Washington, DC; the Philadelphia Museum of Art, Philadelphia, Pennsylvania; the Milwaukee Museum of Art, Milwaukee, Wisconsin; the Elvehjem Museum of Art, Madison, Wisconsin; the Museum of Contemporary Art, Chicago, IL; the Rochester Museum of Art, Rochester, New York; the Museum of Modern Art, Belgrade, Yugoslavia; the Museum of Modern Art, Novi Sad, Yugoslavia; the Museum of Modern Art, Ljubljana, Slovenia; and the Metropolitan Museum, Manila, Philippines. He lives and works in Blue Mounds, Wisconsin.
En Iwamura was born in Kyoto, Japan in 1988. The influence of both parents who are painter, he grew up in artistic environment. Iwamura’s work investigates how he can influence and alter the experience of viewers who occupy space with his artworks. Iwamura has been working on coil built ceramic sculptures with layers of slip, under glaze and glaze drawings. Inspirations of form, color, and subjects of drawings come from both American and Japanese historical and pop cultures, which surround his life. Through Iwamura’s investigation, he tries to understand and process the atmosphere of the world in which he exists, with using little flares of humorous expression. There is an overflow of democratic images and information delivered by Media and Internet technologies. We are bombarded by these different values of information passively and automatically by the system of society. Our lives get accelerated, and there is no time to breath. In that restless time flow, Iwamura finds the process of ceramic art to be very meaningful because of its character. Ceramic artists have to spend time with clay’s speed and firing. (The ceramic making process is defined by the time required for the material to dry, and fired, this time process inspires him.) captures and solidifies the all times and things happen on clay as becoming ceramics. Ceramics last longer than human life, and we will communicate with future people with ceramic as an important information system.
Bernd Berner was born 1930 in Bergedorf and was a German painter and graphic artist. Berner completed a training as a lithographer. The artistic break caused by National Socialism also prompted young Bernd Berner to search for new artistic expressions and initially turned to the French Cubists, in particular Fernand Léger. When Berner came across Baumer’s 1947 book “The unknown in art”, it was a revelation that influenced the young artist significantly. In 1952 he moved to Stuttgart, where he met with Willi Baumeister. His works from this period are entirely abstract and clearly marked by furrows and scriptural structures. Between 1956 and 1958 Baumeister’s direct influence as well as the affinity for Tachism and Informel lost more and more importance. The colors in Berner’s works were combined into fields of organized pictorial structure. In dealing with non-objective painting of European Modernism in 1959, he defined the concept of “area space” (overwriting and overpainting, which leads to a dense network and thus give the area a certain amount of space) for the majority of his works. Berner kept this concept throughout his life. From 1960 he exhibited internationally. Solo exhibitions took place mainly in Germany, France, Switzerland and Italy. From 1971 to 1994 he held a professorship for painting at the University of Applied Sciences in Pforzheim . His studios were in Stuttgart and temporarily in Bern and Paris. Together with Klaus Jürgen-Fischer, Eduard Micus, Erwin Bechtold and Rolf-Gunther Dienst, Berner founds the SYN group of artists in 1965, who represent the idea of holistic art beyond the definition of formalism. The group disbanded in 1970.
Tyler Lotz’s recent sculptures are about abstraction, a longing for wilderness, and his failed attempts at conjuring personal experiences he has had in the landscape throughout his life. Influenced by both natural and mediated landscapes, these pieces can elicit a single place and time or an amalgam of time, experiences and desires. Thus, the forms and surfaces are fragmented and residual, while simultaneously evidential and illusive. Tyler Lotz uses physical attributes of ceramic glaze like color, the range of surface between mattness and gloss, and the range between translucency and opacity, coupled with a variety of application techniques to create a surface that alters our perception of the angular and organic ceramic forms. Incorporating both casting and hand forming techniques, the sculptures have the sensibility of synthetic, fabricated and built objects and environments. Tyler Lotz’s sculptures and vessels have been shown in solo and group exhibitions at venues including the Elmhurst Art Museum – Elmhurst, Illinois, Harvey/Meadows Gallery – Aspen, Co, Dubhe Carreño Gallery – Chicago IL, Cervini Haas Gallery/Gallery Materia – Scottsdale, AZ, Cross-Mackenzie Gallery – Washington DC, Franklin Parrasch Gallery – NYC, Santa Fe Clay – NM, The Clay Studio – Philadelphia, PA, and SOFA Chicago. His work has been presented abroad at The First World Ceramic Biennale Korea and 2010 Vallauris Biennale Internationale in Vallauris, France.
First Friday April: 3pm – 8pm
Sun, Mon, Tue, Wed either 1-5pm or by appointment (844.202.9303)
Thu, Fri from 1-6pm and Sat from 11-6pm.