jay kelly & greg parker

Jay Kelly Greg Parker

J im Kempner Fine Art

J im Kempner Fine Art

Jay Ke l l y

Working with a minimalist sensibility, Jay Kelly celebrates clean and fundamental abstract forms. His drawing process is intimately related to his sculpture, wherein the dominance of line reflects an intuitive meandering of the mind. The new drawings, made with graphite and colored pencil on vellum, are hazy and delicate abstractions. Each measuring 5 x 5”, they consist of linear arrangements that appear to float in space. A combination of wire, nickel silver, wood, gesso, acrylic and Japanese paper, his small-scale sculptures are no larger than 12” tall. The textures vary from woven wire, spiky protrusions, diaphanous Japanese paper nets and smooth, non-referential wooden forms. They are aged with a patina, which reflects Kelly’s love of weathered surfaces. Loosely inspired by Modernist design, Kelly’s sculptures are recog-nized for their whimsicality and enigmatic origins. They harness a lightness of form, and an acute sense of proportion and color.

Jay Kelly is a self-taught artist from Pasadena, California. He began his career as a photorealist painter, shifting his focus to pure abstraction in the late 1990s. His work is in the collections of The Metropolitan Museum of Art, New York, NY; The British Museum, London, England; The Brooklyn Museum, Brooklyn, New York, NY; the San Diego Museum of Art, San Diego, CA; The Yale University Art Museum, New Hav-en, CT; and many other private and public collections.

Photography by Jay Kelly

BORN1961 Pasadena, California

EDUCATION

1983 B.A. Syracuse University SELECTED EXHIBITIONS

2016 Jim Kempner Fine Art, New York, NY (Group Show) 2015 Jim Kempner Fine Art, New York, NY (Group Show)2014 University of Maine Museum of Art, Bangor, ME Jim Kempner Fine Art, New York, NY 2013 Jim Kempner Fine Art, New York, NY Roy Boyd Gallery, Chicago, IL2011 Katonah Museum of Art, Katonah, NY (Group show)2010 Jim Kempner Fine Art, New York, NY Roy Boyd Gallery, Chicago, IL2009 The Contemporary Museum Honolulu, Honolulu, HI (Group show) Museo de Arte Contemporaneo Esteban Vicente, Segovia, Spain (Group show) Allyn Gallup Contemporary Art, Sarasota, FL (Group show)2008 Jim Kempner Fine Art, New York, NY Roy Boyd Gallery, Chicago, IL Allyn Gallup Contemporary Art, Sarasota, FL (Group show)2007 William Shearburn Gallery, St. Louis, MO Jim Kempner Fine Art, New York, NY Gallery at Lincoln Center, New York, NY Yale University Art Gallery, New Haven, CT (Group show) Southeastern Louisiana University, Hammond, LA (Group show) 2006 Roy Boyd Gallery, Chicago, IL Allyn Gallup Contemporary Art, Sarasota, FL (Group show) Zero Station, Portland, ME (Group show)2005 Jim Kempner Fine Art, New York, NY2004 Roy Boyd Gallery, Chicago, IL Miller Block Gallery, Boston, MA Jim Kempner Fine Art, New York, NY

2003 Graystone, San Francisco, CA2002 Jim Kempner Fine Art, New York, NY Graystone, San Francisco, CA Allyn Gallup Contemporary Art, Sarasota, FL (Group show)2001 Jim Kempner Fine Art, New York, NY "Abstract Art in the New Century", University of Wisconsin at Whitewater (Group show)2000 Jim Kempner Fine Art, New York, NY Graystone, San Francisco, CA1999 Graystone, San Francisco, CA Kips Bay Designer Showhouse, New York, NY (Group show)1998 Graystone, San Francisco, CA1997 Christine Adapon Fine Art, Manila, Philippines

COLLECTIONS

The Metropolitan Museum of Art, New York, NYThe British Museum, London, England Brooklyn Museum, Brooklyn, New York, NY San Diego Museum of Art, San Diego, CAThe Contemporary Museum Honolulu, Honolulu, HIArkansas Arts Center, Little Rock, ARYale University Art Museum, New Haven, CTPrinceton University Art Museum, Princeton, NJJP Morgan Chase, New York, NY Fidelity Investments, New York, NYWerner Kramarsky, New York, NYHarvey Shipley Miller, New York, NY Edward Albee, New York, NY

Jay Kelly

Untitled #427, 2016.Metal.7 x 9 x 4”.

Jay Kelly

Untitled #414, 2015.Metal.9 x 3 1/2 x 3 1/2”.

Jay Kelly

Untitled #428, 2016.Metal, Japanese paper, archival glue. 6 3/4 x 4 x 3 1/4”.

Jay Kelly

Untitled #430, 2016.Metal, Japanese paper, archival glue, wood, gesso, acrylic.4 1/2 x 8 x 2 1/2”.

Jay Kelly

Untitled #431, 2016.Metal, wood, gesso, acrylic.4 x 4 x 3”.

Jay Kelly

Untitled #432, 2016.Wood, gesso, acrylic.4 x 3 x 1 3/4”.

Jay Kelly

Untitled #409, 2015.wood, gesso, acrylic.10 1/4 x 4 x 2”.

Untitled #426, 2016.Metal.9 3/4 x 3 3/4 x 2”.

Jay Kelly

Untitled #402, 2015.Metal.6 x 4 x 3 1/2”.

Untitled #422, 2016.Wood, gesso.6 1/2 x 3 x 1 1/2”.

Jay Kelly

Untitled #415, 2015.Metal.6 1/2 x 3 x 2 3/4”.

Jay Kelly

Untitled #425, 2016.Metal, wood, gesso, acrylic.8 x 5 1/2 x 5”.

Jay Kelly

Untitled #419, 2015.Metal, wood, gesso, acrylic.10 1/2 x 2 1/4 x 1 3/4”.

Jay Kelly

Untitled #416, 2015.Metal.6 1/2 x 5 1/4 x 2 3/4”.

Jay Kelly

Untitled #421, 2016.Metal.4 x 5 x 4 3/4”.

Untitled #408, 2015.Metal, wood, gesso, acrylic.5 x 4 x 2 1/4”.

Jay Kelly

Untitled #423, 2016.Metal.6 x 5 x 3”.


Jay Kelly

Untitled #398, 2015.Metal.5 3/4 x 2 x 1 1/2”.

Jay Kelly

Untitled #412, 2015.Wood, gesso.7 1/4 x 4 1/4 x 2”.

Untitled #390, 2015.Metal, wood, gesso, acrylic.5 3/4 x 3 x 2 1/4”.

Jay Kelly


Untitled #1890, 2016.Colored pencil on Vellum.5 x 5”.

Jay Kelly

Untitled #1893, 2016.Graphite on Vellum.5 x 5”.

Jay Kelly


Jay Kelly

Untitled #1885, 2016.Colored pencil on Vellum. 5 x 5”.

Jay Kelly


Greg Parker

Structured around systematic order, thought, and sensation, Greg Parker’s paintings have the appearance of visual depth and atmosphere while using almost no paint. Rooted in the traditions of Minimalism and Modernist abstraction, Parker works with associative elements such as a square or grid with measurable boundaries. Often looking like metal, wood or another material, the end result is a subdued, reflective surface that is solid in nature, with shifting shapes in a constant state of flux. In addition to a monumental 5 x 9’ painting from 2007, the exhibition features several of the artist’s new paintings that range in size from, 12 x 12 x ½” to 20 x 40 x ¾”.

ARTIST STATEMENT

The material process of my work begins with the wood panel. A material that is usually associated with three-dimensional construction. The paintings have a sense of being objects: as if they are built as much as they are painted. The rigid form allows me to cover the panel with up to twenty layers of gesso, sand and compress the paint materials onto the surface without flexing.

There are layers of paint applied in strategies; design systems that are applied in progressive steps. Each of these strategies adds to, obscures or alters the pre-vious layers but all are affecting the final surface. Even though the layers are many, the physical depth of the paint would have to be measure in microns.

There are many ambiguities that I encourage. The appearance of visual depth and atmosphere while using almost no paint; a surface that in many ways does not resemble paint at all, often looking more like metal, wood or another material; a surface that is solid but its reflective nature causes to it shape shift, its recognition in a constant state of flux; a strong physical presence but coupled with great uncertainty.

I work with systems of rational meaning: elements that have measurable boundaries, predictable conclusions and familiarity. Their simplicity and meaningful-ness is indisputable. But there is also a simultaneous condition of uncertainty, conscious doubt and deliberate questioning that threatens order and probabili-ty.

I am interested in the overlap of science and art. I believe that philosophy can begin where physics ends, and physics can begin where philosophy ends. And even though these disciplines are frequently seen at odds with each other, observable proof vs. meta-physical truth, I think they often occupy the space.

That simultaneity is the framework I use in my work. I think we all exist with a mixture of passionate certainty while understanding that it could unravel at any moment. We also understand things that can’t be explained by deduction. We are comfortable knowing something we can’t prove.

My work is a compression of physical materials but also the grouping of thought and sensation. I use a range of associative elements that triggers recognition and confusion, a physical object that refuses to stabilize its identity.

- Greg Parker, 2016

Photography by Luc Demers

BORN

1952 Island Falls, ME

EDUCATION

1974 University of Southern Maine, BFA 1976 Cranbrook Academy of Art, MFA

SELECTED GROUP EXHIBITIONS

2016 Jim Kempner Fine Art, New York, NY2008 Select Artists, Miller Block Gallery, Boston, MA2007 Selected Group Exhibition, Albright-Knox Art Gallery, Buffalo, NY

Graphite, June Fitzpatrick Gallery, Portland, MEGraphite, Portland Museum of Art, Portland, ME

2006 Winter Show, Jim Kempner Fine Art, New York, NY2004 Sublime Geometry, The Center for Maine Contemporary Art, Rockport, ME

June Fitzpatrick Gallery @ MECA, Portland, METhe Portland Show, Greenhut Gallery, Portland, ME

2002 50th Anniversary Exhibition, The Center for Maine Contemporary Art Select Invitational, Rockport, ME

2002 System/Symptom, Miller Block Gallery, Boston, MA2001 Minimalenialism, Jim Kempner Fine Art, New York Department of State, San-

tiago, Chile2000 Side Bar, jennjoygallery, San Francisco, CA

15 New York Artists, BGH Gallery, Santa Monica, CASignificant Others, Jim Kempner Fine Art, NY

1999 The DeCordova Annual, DeCordova Museum, Lincoln, MA1998 Depth and Illusion, Gallery NAGA, Boston, MA, Varieties of Abstract Space Maine Light Art in Embassies Program, USA After Dark, Maine Coast Artists Gallery, Rockport, ME Surfacing, jennjoygallery, San Francisco, CA1996 The Eighth Triennial, Fuller Museum of Art, Brockton, MA Individual Artists Fellowship Grantees, Maine Arts Commission, Augusta, ME1995 Contemporary Collage, Frick Gallery, Belfast, ME Perspectives: A Sense of Place, Portland Museum of Art, Portland, ME 1994 The Luster of Graphite, Barn Gallery, Ogunquit, ME1993 Night Light, Barn Gallery, Ogunquit, ME

On the Edge: Forty Years of Maine Painting, Maine Coast Artists Gallery, Rockport, ME, Portland Museum of Art

SOLO EXHIBITIONS

2008 June Fitzpatrick Gallery @ MECA, Noa Warren and Greg Parker, Portland, ME

2007 Bannister Gallery of Art, Rhode Island College, Providence, RI 2006 Jim Kempner Fine Art, New York, NY Bannister Gallery of Art, Providence, Rhode Island College, RI 2005 June Fitzpatrick, Works on Paper Gallery, Portland, ME Miller Block Gallery, Boston, MA Jim Kempner Fine Art, New York, NY 2004 June Fitzpatrick Gallery, Portland, ME 2003 Miller Block Gallery, Boston, MA Jim Kempner Fine Art, New York, NY 2002 Jim Kempner Fine Art, New York, NY2001 June Fitzpatrick Gallery, Portland, ME Richard Levy Galley, Albuquerque, NM Miller Block Gallery, Boston, MA2000 Miller Block Gallery, Boston, MA 1999 Jim Kempner Fine Art, New York, NY Miller Block Gallery, Boston, MA June Fitzpatrick Gallery, Portland, ME1998 jennjoygallery, San Francisco, CA Jim Kempner Fine Art, New York, NY1997 Miller Block Gallery, Boston, MA Between the Muse, Rockland, ME1993 Gleason Fine Art, Portland, ME1992 Dean Velentgas Gallery, Portland, ME 1990 Memphis College of Art, Memphis, TN1989 Dean Velentgas Gallery, Portland, ME

COLLECTIONS

Portland Museum of Art, Portland, MEFarnsworth Museum of American Art, Rockland, MEUniversity of Southern Maine, Portland, MESonesta Corporation, Boston, MA Fidelity Investments, Boston, MADeCordova Museum and Sculpture Park, Lincoln, MA Millennium Partners, Boston, MA The Boston Intercontinental Hotel, Boston, MA The British Museum, London, EnglandGoldman Sachs, New York, NYPercent for Art Commission, Elementary School, Auburn, MEOver 500 paintings in private and corporate collections in North America and Europe

Greg Parker

Untitled 2016.402, 2016.Oil, graphite, powdered pigment on gesso panel.20 x 20 x 3/4”.

Greg Parker


Greg Parker

Untitled 2007.901a, 2007.Oil, pigment, powdered graphite on gesso panel.60 x 108”.

Greg Parker



Jim Kempner Fine Art specializes in contemporary paintings, sculpture, photography, and works on paper, with a special emphasis on contemporary master prints and outdoor sculpture. Our inventory appeals to the established as well as beginning collector. We work closely with art advisors, designers, corporations and museums to expand and enrich their varied collections.

Located in the heart of Chelsea, the gallery’s three story modernist-inspired structure designed by architects Smith & Thompson boasts one of the few outdoor sculpture gardens in New York City, and is included in a number of books about contemporary architecture. Our inventory includes work by Donald Baechler, John Baldessari, Louise Bourgeois, Christo, Chuck Close, Richard Diebenkorn, Jim Dine, Sam Francis, Helen Frankenthaler, Spencer Finch, Jane Hammond, David Hockney, Howard Hodgkin, Jasper Johns, Deborah Kass, Alex Katz, Ellsworth Kelly, William Kentridge, Jeff Koons, Robert Mangold, Robert Motherwell (Jim Kempner Fine Art represents the Dedalus Foundation, Robert Motherwell’s print archive, in New York), Sol Lewitt, Roy Lichtenstein, Robert Longo, Elizabeth Peyton, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Paula Scher, Sean Scully, Frank Stella, Donald Sultan, Wayne Thiebaud, Andy Warhol and others.

Among the contemporary artists whose work we represent are Robert Attanasio, Christopher Beane, Stanley Casselman, Long Bin Chen, Eduardo del Valle and Mirta Gómez, Rinaldo Frattolillo, Gianfranco Gorgoni, John Grande, John Henry, Charlie Hewitt, Jay Kelly, Nora Ligorano and Marshall Reese, Jerry Mischak, David Mitchell, Craig Norton, Greg Parker, Robert Petersen, Randy Regier, Tom Slaughter, Pal Svensson and Boaz Vaadia.

For more information, please contact gallery director Dru Arstark, [email protected], or associate director Sarah Bielicky, [email protected].

J IM KEMPNER FINE ART

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New York, NY 10011

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jimkempnerfineart.com Jim Kempner Fine Art @JimKempnerFA@jimkempnerfineart

jay kelly & greg parker

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