Carrie Haddad Gallery

PHONE: (518) 828-1915
ADDRESS: 622 Warren Street, Hudson NY 12534
EMAIL: carriehaddadgallery@verizon.net
Website: www.carriehaddadgallery.com 

The Carrie Haddad Gallery presents eight large exhibits a year and includes all types of painting, both large and small sculpture and works on paper. Carrie Haddad opened the gallery in 1991, making it the first exhibition space in Hudson at the time. The gallery became an instant success and continues to show the both well-established and newly-discovered artists of the Hudson Valley. It was voted “Best Gallery of Contemporary Art in the Hudson Valley” by Hudson Valley Magazine.

Carrie Haddad Gallery: MORE POSTS


Radical Inventions at Carrie Haddad Gallery

Walkabout (Past the Pond), 2015 24 x 28 inches oil on panel by David Konigsberg
Image Courtesy of the artist

Carrie Haddad Gallery is pleased to present “Radical Inventions”, an exhibit featuring the work of five gallery artists. Painters David Konigsberg and Ralph Stout will show recent work alongside gallery favorites of fellow artist, Shawn Snow. Multi-media constructions by Stephen King will also be featured with large abstract works by architect turned visual artist, Juan Garcia Nunez. On view Wednesday, November 18th through Sunday, December 27th. A reception for the artists will be held on Sunday, November 22nd from 2-4pm. All are welcome to attend.

For this show, David Konigsberg extends his depiction of a life imagined between heaven and earth, using storied vistas of the Hudson Valley as his enduring backdrop. In work completed this past spring and summer, he captures the vastness of our natural surroundings while weaving a host of clever idiosyncrasies into the clouded skies and rolling meadows. Open-cockpit flying machines hover and jet across the plain as billowing cumuli loom in paintings like Return, Before the Weather and Coast Patrol. Angels, simultaneously human and divine, populate the world at ground level, whether silently exploring the valleys in paintings like Overland #3 and Walkabout (Past the Pond), or landing by the house to confront the viewer in pieces like Alight and Angels in the Backyard. Beyond subject matter, the magic of the work can be found in Konigsberg’s handling of paint, in both the gestural brushwork that propels his characters and the use of layers to create illusions—for example, of haze or morning mist in an environment filled with atmospheric drama. David Konigsberg has exhibited with Carrie Haddad Gallery for more than a decade. A former resident of Brooklyn, he lives full time with his wife Peg Patterson in Hudson.

Stephen King began making mixed media constructions at the age of 16. Born to parents who were both illustrators, cartoonists and painters, it is no wonder that King turned to creative outlets to communicate with his own inner voices. The selections from the Labyrinth Mind series featured in this exhibit will offer a window into that conversation. Inspired by the old Victorian house he lived in as a child, King applies a fascination with secret corridors, dark corners and looming shadows as a way to explore his own psyche. In the case of the Labyrinthine series, King inserts personal symbols in box-like constructions in an attempt to navigate the labyrinth of his being. Recurring images within the work communicate his path to self-enlightenment. Red lines, stairs, and ladders denoting a path from the subconscious are followed by planes or spheres in the search for freedom into elements of gold, representing enlightenment. While a highly personal exploration, King’s work also touches on a universal sentiment shared by everyone seeking individual expression and discovery. King has shown in multiple New York City exhibits and has been with Carrie Haddad Gallery for more than twenty years. 36419f66-dc2e-4574-8d94-8a0a36ae6bad Corpus, 2015 30 x 24 inches oil on canvas by Ralph Stout
Image courtesy of the artist

Since devoting himself full time to visual art after a long career in computer technology and mathematics, Ralph Stout experiments daily with various media including charcoal or graphite on paper, acrylic on canvas, and photography. New selections from his studio for this exhibit include an array of vividly colored painted compositions with definitive lines, contrasting hues and blocked shapes. Puzzle-like masses that curve and bend interlock to form alluring abstractions on a plane of unexpected color combinations. Stout’s singular style follows him as he traverses mediums; the manipulations of stark contrast is as evident in his pigmented palettes as in the play on light and shadow in his black and white photographs. These commonalities all contribute to an aesthetic that is uniquely Stout’s, allowing us to trace his evolution as an artist and mastery of whichever medium he chooses to employ. The artist currently lives and works in East Hampton, NY.

In this exhibit the gallery revisits three paintings by Shawn Snow made in 2010. Inspired by stones, stains from nature, erosion and artists such as Rothko and Sam Francis, Snow produces meditative fields of color by layering oil paints with a fast drying alkyd medium. The network of layers is bound to a complex under-painting with broad bands of pigment while the rapid drying alkyd allows Snow to continue the succession quite quickly, revealing beautiful boundaries of color. With his painting Snow strives for purity, seeking “depth without illusion”, using horizons of colors as a harmonious language to create chords, scales and tones. The artist has exhibited extensively in the New England region and has shown with Carrie Haddad Gallery for more than ten years.

Juan Garcia-Nunez continues to create highly textured works on paper, but has expanded on the series to encompass compositions of acrylic and ink on styrene reaching up to six feet tall. Void of color, the three large works in the exhibit feature towering white abstractions fragmented with a palette knife and brush against a deep black canvas of ink. Nunez's textured towers are likely informed by the artist's architectural background which has entered his work in painting, video, film, and philosophy. Nunez has exhibited in New York, Connecticut, and Latin America. In addition to painting, Juan remains passionate about architecture and was awarded at the NARA/TOTO World Architecture Triennial in Japan. Garcia-Nunez is currently professor of Visual Arts at Dutchess Community College.

Carrie Haddad Gallery is open daily from 11-5pm and is located at 622 Warren Street in Hudson, NY. Visit our website at carriehaddadgallery.com. For more information and directions, contact us at (518) 828-1915 or send an email to carriehaddadgallery@verizon.net.


COLOR THEORY at Carrie Haddad Gallery

Vincent Pomilio, James O’Shea and Stephen Brophy
October 7 – November 15, 2015

Opening Reception: Sunday, October 11th from 2-4pm

Carrie Haddad Gallery is pleased to present “Color Theory”, a group exhibit featuring the work of local artists Vincent Pomilio, James O’Shea and Stephen Brophy. Most of recorded art history is dominated by realistic painting, a highly polished, academic style of brushwork where little is left to the imagination. A push to express more than what can just be seen sparked a reinterpretation of the painting process. Art became the activity of creating rather than the finished product and, with this, color was used as the tool to capture the breadth of the artist's vision. Its combinations were used to produce a visual effect that translated representational art into an abstract language juxtaposing color, line, and shape. This shift from the naturalistic into abstraction is none better characterized than with the work featured in “Color Theory”. The exhibit will be on view from October 7th through November 15th with a reception for the artists on Sunday, October 11th from 2-4pm. All are welcome to attend. Southernmost-painting Southernmost Painting, 2015 20 x 20 inches acrylic, plaster and wax on panel

Inspired by the natural world, Vincent Pomilio produces unexpected color combinations using mixed media on canvas, paper, or wooden panel. Starting with a grid, the artist proceeds to deconstruct it. Several layers are created with a mixture of Kolcaustic plaster, marble dust, and acrylic paint. One thing leads to another, the artist working intuitively, turning the piece a quarter turn until there is nothing he can do to make it better. From there a process of rubbing and sanding the layers is repeated after the materials are applied. The final finish is refined beeswax burnished to a smooth surface. “If you see it, it is there”, says Pomilio, as he challenges the viewer to find the recognizable shapes and images that are left behind as a result of his process. “One shape flows from another, and then another, until there is a pulsating energy of interacting elements. Worlds of refined, chaotic movement are animated by color.” New additions to the Big-Little series, which the artist began in 2009, will be exhibited alongside recent work on panel and linen made during an artist residency in Florida. Pomilio pursued graduate studies at the Tyler School of Art in Elkins Park, PA and New York University in Manhattan. He has been featured in group and solo exhibitions internationally. Untitled58 Untitled 58, 2011 11 x 11.5 inches oil on canvas

We welcome back James O'Shea and his masterful color studies in oil, encaustic and other mixed media. His compositions of layered colors and shapes, seeming architectural and yet organic, are inspired by experiences near his studio on the Hudson River. The artist's interest in the energy surrounding nature's changing of seasons is clear as each color and shape come to represent a particular time of day or year. O’Shea finds revelation in observing the world while it’s deep in hibernation during the winter months. With foliage shed from the trees, therein lies nature’s defining qualities – branches that are finely etched against blue and gray winter skies, animals that are exposed to the elements, their tracks in the snow leaving proof of scurried movements. These characteristics of the land can only truly be known when it is cold and summer’s distractions are put to rest. O’Shea allows loose brush strokes to mimic the bare bones structure of the landscape, finding perhaps his greatest pleasure in supplying the color. Palettes shift from a deep, blue-ish grey in the late winter to a bright, candied pastel in the early summer. O’Shea suggests the most delightful and unexpected color schemes; intense hues of blue are interwoven with bouts of rich maroon, a pairing that urges preparation for the cooler months. Brodsky Barn, 1990 32 x 27 inches acrylic on canvas

Audiences may know Stephen Brophy best for his vividly colored landscapes and paintings of residential buildings. Yet during a recent studio visit, we discovered several bodies of work completed in the early to mid 90’s, showcasing a very different style of abstract painting for the artist. With canvases measuring over 5 feet tall, Brophy applies flat blocks of color to his surfaces with barely visible brush strokes, an application oftentimes associated with the color field paintings of the 1950s. Unlike in abstract expressionism where color and pattern trump geometry and form, Brophy allows the borders created by the juxtaposition of his colors to define a pictorial image. He then titles his paintings to further aid the viewer in identifying the real world object being depicted. The combinations of color and geometry tell a story through a unique ability to set a mood via a grand scale and bold primary or pastel color palette. Non-textured, flat blocks of black, red and white are stacked in the painting “Barn”, the peaked angle of white being perhaps the sole indicator that this could be perceived as the outline of a roof. The viewer’s brain is prompted to fill in the missing pieces to satisfy any real world associations. Other paintings are perhaps less obvious; Brophy’s signature line that curves and divides the canvas horizontally or vertically is a reoccurring motif that could represent the horizon separating land and sky or the frontiers of landmasses and weather fronts. A native of New York City, Stephen Brophy is a self-taught artist and has produced varied bodies of work including paintings, drawings, prints and sculpture for the past 50 years.

For directions, please contact the gallery at (518) 828-1915, or visit our website at carriehaddadgallery.com. Located at 622 Warren Street in Hudson, NY, the gallery is open daily from 11 – 5pm, & Sundays from 12-5pm.


Photography exhibit at Carrie Haddad Gallery

For Scout, A Very Good Dog, 2013  40 x 40

Carrie Haddad Gallery presents "Photography", a group exhibit featuring an All-Star cast of established artists using various photo techniques and materials to create both abstract and representational images. On view December 17 - January 25th. Carrie Haddad Gallery is located at 622 Warren Street in Hudson, NY. For more information visit: www.carriehaddadgallery.com

Top Image:
For Scout, A Very Good Dog, 46 x 40 inches archival digital print by Lisa Frank RF 27 300px RF 27, 43 x 43 inches archival pigment print by Andrew Buck First Foliage (Bramble), 36x34_300 First Foliage (Bramble), 2009 36 x 24 inches Japanese Kozo paper infused with encaustic on 3 panels by Jeri Eisenberg


Under the Influence (of the New York School)

January Abstraction_D

A new exhibit opens this weekend at Carrie Haddad Gallery:

Under the Influence (of the New York School)
Lionel Gilbert, Judith Lindbloom and William Bond Walker
Reception: Saturday, April 26th, 6-8pm
April 19, 2014 through June 1, 2014
at Carrie Haddad Gallery
622 Warren Street, Hudson NY

When one thinks of the New York School the mind is instantly transported to New York City during the 1950’s and 60’s when it became a melting pot of visionary artists, writers, jazz musicians, and dancers. The individuals of this avant-garde circle drew their inspiration from Surrealism and the artists, in particular, were captivated by its philosophy of subconscious liberation. Out of this fascination, Abstract Expressionism was born. Canvases became dominated by highly abstracted forms, bold palettes, and intense gestural displays of human emotion where the finished piece was not just an image but rather a record testifying to the moment an artist’s brush met its surface.

Untitled II_D In the mid-fifties, Judith Lindbloom left the Midwest for New York City to settle in Greenwich Village. Her work was clearly influenced by that of her close friend, Franz Kline. By the time Lindbloom was 23, her work had appeared in the Whitney Museum’s Under 35 exhibit of young American painters. After a stint of travel in Europe, Lindbloom settled in San Francisco where she continues to live today. This exhibit will feature work from her NYC era, as well as paintings from the 80s and 90s that reflect a brighter, more expressionistic palette.

Artist William Bond Walker describes each of his paintings as a “new beginning”, allowing for intuitive development rather than relying on a preconceived plan. This element of abstraction creeps into his representational work as well. Bond Walker finds the power of color and its ability to shape a piece most important, hence his use of acrylic-- a medium he favors for its flexible and adaptable features.
Blue on the Side  d jpg Lionel Gilbert received his formal training at the Newark School of Fine & Industrial Art in 1924 and L’Academie de la Grande Chaumier in France. Gilbert painted large murals in public buildings while employed through the nation’s W.P.A program. During WWII, he completed many illustrations while working as an official U.S. Air Force artist to portray life at war. Gilbert later became a full time artist showing in various galleries while teaching at the 92nd Street Y Art Center through the 1980’s. This exhibit will include his abstract figurative paintings. Reminiscent of Hans Hoffman, Gilbert replaces rapid brushstrokes for blocks of color that are oftentimes organized around semi-automatist forms.

To view the exhibit online visit carriehaddadgallery.com

1. William Bond Walker, January Abstraction
2. Judith Lindbloom, Untitled II
3. Lionel Gilbert, Blue on the Side


In Bloom Around Hudson

The snow is slowly starting to melt and signs of Spring are popping up all over the place. In honor of the new season, we thought we'd put together a post of floral items from some of our members - enjoy!


A brown "Calico" transferware pitcher, in a delightful, brown and cream well known floral pattern. Signed, Crownford China Company. Measurements inside the pitcher: 4, 8, 12, 16, 20, and 24 oz. Find it at Foley & Cox, 317 Warren Street


A beautiful still life painting of a bouquet of daffodils in a vintage frame.
Find it at Gris, 614 Warren Street


Kashmir Collection cheese board and dinnerware by Dana Brandwein Oats. Find it at FINCH, life curated, 613 Warren Street


A work intensive Mexican tin mirror - original mirror glass - surrounded by rings of small tin flowers - larger flowers crown each of the eight segments. Find it at Vincent Mulford Antiques, 419 Warren Street.


Pair of Mid-Century Ceramic Table Lamps. Blue and Green Flowers and Leaves on a Orange Background. Find it at Arenskjold Antiques Art, 605 Warren Street.


Forsythia No. 4 by Jeri Eisenberg. Japanese Kozo paper infused with encaustic on 4 panels, each panel is 36" high by 11'' wide. Find it at Carrie Haddad Gallery, 622 Warren Street.


Vibrant 1970 "Flower Power" Garbage Can. Find it at Neven + Neven Moderne, 618 Warren Street.


In the Black at Carrie Haddad Gallery


Even though income taxes are due by the end of their show, Carrie Haddad Gallery celebrates the lucky possibility of being IN THE BLACK by showcasing a selection of black painting, drawing, encaustics and sculpture.

Black, being the absence of color, has always had a dark and somewhat lonely connotation. Its absence should not be criticized but embraced since it presents other concepts that constitute a great work of art. With respects to intriguing subject matter, complex brushwork, striking contrasts, or a captivating treatment of a surface, the artists showing IN THE BLACK have all embraced the dark side in the hopes of encouraging their audience to look beyond the typical and seek the mysterious.

The exhibit opens this week and runs through April 15 with works by Joseph Maresca, Ralph Stout, Betsy Weis, Sarah Berney, Kris Perry, David Paulson, and Linda Cross. An opening reception for the artists will be held this Saturday, March 8 from 6 to 8pm. All are welcome.

For more information, visit www.carriehaddadgallery.com.


Top: David Paulson, The Clock, 2008, acrylic and ash on canvas
Bottom: Linda Cross, Land Fill, 2013, Mixed materials on panel


A Hudson Home in Lonny Magazine


Designer Juan Carretero's beautiful Hudson home is highlighted in the December/January issue of Lonny Magazine. In the article Carretero shares his favorite interiors sources in town, including HADA members, Carrie Haddad Gallery, Neven + Neven Moderne and Vince Mulford Antiques.

Check out the full article here: http://bit.ly/1jM6V98

Juan-1 Juan-3 Juan-4 Juan-5


Melange at Carrie Haddad Gallery


A cacophony of fine art at Carrie Haddad Gallery (December 12th through Jan 19) features the following artists; Jane Bloodgood-Abrams, Harry Orlyk, Vince Pomilio, Juan Garcia-Nunez, Scott Nelson Foster and David Paulson. A reception for the artists takes place Saturday, December 14th from 6-8pm. All are welcome.

For more information on the exhibit, click here

Top Image: Jane Bloodgood-Abrams, Presence, 2013, 12" X 12" oil on panel
Bottom Image: David Paulson, Scarborough Beach, Series 1, 2012, 18" X 24", conte on paper

Scarborough Beach Series 1_D


Exhibit: Storytellers and Conjurers


Carrie Haddad Gallery is pleased to announce their next exhibit, “Storytellers and Conjurers”, featuring work by Kahn & Selesnick, Eileen Murphy, Louise Laplante, Adam Cohen, and Claire Lofrese. The exhibit will be on view from October 31 through December 8, 2013 with a reception for the artists on Saturday, November 2 from 6-8 PM. All are welcome.

Storytellers-and-ConjurersKahn & Selesnick, The Dark Rider, 2012-13

The ultimate storytellers, who have been showing with the gallery for 20 years, are Nicholas Kahn and Richard Selesnick of Kahn & Selesnick, who met at Washington University in St. Louis in the 1970’s. Their initial collaboration started in Truro, MA with real film and a box camera, (that belonged to Kahn's father and was actually used during the war), a real darkroom, stacks of cotton rag paper, and a xerox machine set on sepia tone. The first few series documented an invented history about “The Royal Excavation Corps” and their experiences with a shaman, experimental wings for solo flying, psychedelic honey and all sorts of adventures shot like an old movie. Eight series later, Kahn & Selesnick now shoot with digital cameras and alter the heck out of them on the computer. The results are stunning and still have the appearance of an era long ago. This exhibit will feature prints from their most recent series Truppe Fledermaus (Bat Troupe), which explores magic realism and documents a group a performers dressed as bats, “greenmen” and “death dancers” who wander the countryside performing only for animals. There are many hand-made elements in Kahn & Selesnick's work—imaginative costumes, stage sets, carved clay bat heads and figures, as well as drawings. This latest series will also include a three dimensional installation in the front room of the gallery.

Another wonderful storyteller, Louise Laplante, uses antique papers from found books and builds a story from them. Her stories are often about women and are plotted with dresses, shoes, and teacups. They are just as often about Earth's creatures. In “Lessons I, II and III”, Laplante collages pages from a book on crustaceans and then draws big chalk whales over them. A cache of vintage envelopes (possibly love letters?) are collaged and graced with a flock of birds in “Their Letters Flew Back and Forth”. Rabbits leap across a ledger of larder accounts. In the tradition of scrapbooks or memory boxes, the work is assembled from personal references. Laplante states, “The surface is blurred with whitewash, the way memories are blurred by distance and the elements of the image are assembled on that ground. The surface is encaustic, used as the final collaged element, to act as the “preservative” for what is underneath, and to provide that final blurring of the image.” Laplante is head librarian at a nearby college, which further explains her love of books and ephemera. Three Graces_DLouise Laplante, Three Graces, 2013

Eileen Murphy tells a modern stark story that is set in an urban apartment or loft. Her exquisitely detailed paintings are like stage sets and it’s up to the viewer to imagine what happens in the rooms. Murphy’s recent work includes oil on panel paintings of an eerily calm, blue, indoor swimming pool, and a starkly spotless Hillsdale Kitchen (with a black and white checked floor that shows off her mastery of perspective technique). Murphy received her MFA in Painting from Pratt Institute in Brooklyn, NY, and a BA in Studio Art and Art History from Mount Holyoke College in MA. This will be her third exhibit with Carrie Haddad Gallery.

Our two “conjurers” are Adam Cohen and Claire Lofrese. Both are contemporary painters conjuring expressive works that couldn't be more different from one another. Adam Cohen is a brilliant colorist, and depending on the colors he uses, creates very different moods. His canvases can be dreamy, playful, dark and brooding, or shockingly vibrant. They are always emotional, and not just because the paint is splattered Pollock-like throughout the painting, but because the range of painterly motion is immediate and completely focused. There is a feeling the artist wants to express and he bangs it out. Color and movement say it all. Cohen earned his BFA at Philadelphia's Tyler School of Art at Temple University. He also studied at the School of Visual Arts Parsons, the Art Students League NYC and abroad in Rome. Using Photo Shop 1, Cohen was one of the very first artists ever to use the computer for art-making, launching his career as a top illustrator. He worked for clients such as Disney, Visa, MasterCard, Coca-Cola, CBS-TV, McGraw-Hill, Pfizer, Orion Pictures, Verizon, AT&T, The Atlantic Monthly, Dean-Witter, The New York Times and others. Wrath of Mars_DAdam Cohen, Wrath of Mars, 2013

Where Cohen is wild, Claire Lofrese is elegant and concise. In this series of very tall and narrow oil on panels, Lofrese uses rich gold and brown to simulate the color and light of Old Master paintings. Her monoliths are quite spiritual, but also conjure something out of a space odyssey. The artist's interest in Japanese art is obvious in her choice of format which can hang alone as a scroll, or in multiples, like screens. Claire Lofrese was educated at SUNY Buffalo and Hunter College. She has exhibited in metropolitan New York, Canada, California and with this gallery for at least fifteen years.

Carrie Haddad Gallery is located at 622 Warren Street in Hudson, NY. For more information please go to www.carriehaddadgallery.com, or call 518.828.1915

Top image: Gallery window, photo by Nicholas Kahn


On Exhibit at Carrie Haddad Gallery

50 years Clutz 4_D

Carrie Haddad Gallery is pleased to present a rather special exhibit on view from September 19th to October 27th: New York City: A Glance at Fifty Years.

New York City: A Glance at Fifty Years is a rare opportunity to view a spectrum of artwork that emerged during several highly charged decades of the 20th century and into the 21st. All three artists, William Clutz (1933-present), Edward Avedisian (1936-2007), and Richard Merkin(1938-2009) lived and worked in NYC and most of the paintings in this exhibit were created there. All three artists had a love for figurative painting at a time when the forefront of a very competitive and unforgiving market was abstraction and non-representational art. All teachers of their trade, (42 years at RISD for Merkin, 9 at Parsons for Clutz, and less for Avedisian), these artists were able to express the energy, beauty and fascination of NYC that is felt by anyone who has lived there. All are in the permanent collection of the Museum of Modern Art.

Another commonality of the threesome is a love of the Hudson Valley. Avedisian moved here first in the 70's with his partner Judson Baldwin, Clutz arrived in the early 90's with his partner John Sheehy, and Merkin moved to Croton-on-Harmon about the same time, with his wife Heather.
Fifth Avenue Pants for Lipstick d Richard Merkin, Fifth Avenue Pants for Lipstick, 1975

As Carrie Haddad recalls, "I don't believe they ever met each other. Funny. The only other thing these artists have in common is that fact that I knew them all fairly well for many years. I met Richard Merkin one night, 35 years ago, at the restaurant One Fifth. Merkin was close friends with a man I was dating, a lawyer Tom Wolfe based a character on. We had a great time that night. Eddie and Richard met each other through a passion for clothing, and were both stunning dressers, with their custom-tailored shirts, suits, and shoes. Merkin met Tom Wolfe the same way - through the clothing. Merkin was charming, elegant, and curious. How fun to meet him again years later--and he remembered me! We became close friends and worked on many exhibits together and now I represent his art estate.

I met Edward Avedisian in 1987, before I even thought of opening a gallery on Warren Street. I wrote him a note to introduce myself because I liked his house - typical for Hudson. He and Judson were total characters and we eventually became very close friends - while we were speaking to each other! Edward was a complicated man and an excellent artist. I am very lucky to have access to so much of his work. And then I met William Clutz in 1993 when he walked into my gallery with one of his paintings to exhibit. That was certainly a lucky day for me. We have worked together ever since and, more than any other artist, I admire his talent, integrity, gentility and wit. Clutz's work in the exhibit is more of a retrospective spanning his last 50 years of painting and his very particular vision of NYC."

Click here to preview the exhibit and be sure to stop in to the gallery at 622 Warren Street to see the work in person! Flying Luck d Edward Avedisian, Flying Luck (green and blue), 1964
Top image: works by William Clutz