Monday, September 24, 2018

Fall is Here! And so is 5779 too! Closings and Openings to Ring in the New Year

Metropolitan Museum of Art through October 8th
At The Cloisters (above) and on Fifth Avenue

Fall is finally here and the crisp, clean winds are blowing away the heavy rain Hurricane Florence dumped on our region.  Ah - what a relief!  Our hearts and prayers to out to North Carolina, South Carolina and Virginia, which sustained enormous damage and lost so many lives due to the storm.

Therefore, we must be thankful for one challenging day in New York and be grateful for all our bounty, especially the exciting exhibitions on view this past summer.  I hope you were able to see Giacometti at the Guggenheim and Chaim Soutine: Flesh at the Jewish Museum before these exhibition closed earlier this month.  My July newsletter listed the shows ending during the summer.

Please note that the Met Museum decided to keep their Costume Institute exhibition  Heavenly Bodies on view through October 8th.  The Cloisters has a fabulous portion of Heavenly Bodies on view, as you can see in the photo selected our blog post today.  At the Met Breuer, Obsession: Nudes by Klimt, Picasso and Shiele will close on October 7th.


Ann Cefola and I will join George Kraus, poet Filippo Naitana, and his translator Ann Lauinger for Poetry in Translation, Sunday, September 30, 1:30 - 3:30 PM, at Shames JCC on Hudson, 371 South Broadway, Tarrytown, NY.  Free for members of the JCC; $10 for non-members.  Ann will read from her translations of  Hélène Sanguinetti's poetry (including her most recent publications) and I will read excerpts from André Salmon's long poem Peindre (Painting), 1921. 

Other New York Arts Exchange opportunities down the pike:
  • The Scarsdale Woman's Club, Wednesday, September 26, 2 pm: "Art after WWI: Surrealism."
  • Learning in Retirement, Temple Beth El, Stamford,  Wednesday, October 4, 1 pm: "Andy Warhol and Alex Katz at the Neuberger Museum."
  • Learning in Retirement, Wednesday, October 10, 1 pm-2 pm; 2 pm-3 pm: Tours of the Neuberger Museum.
  • Alliance Française de Greenwich and Byram Shubert Library, at BSL, Tuesday, October 9, 5:15 pm: "Delacroix in Context" (preparing for the exhibition at the Met).
As usual, New York has an extraordinary amount of excellent exhibitions this fall.
A full list of recommendations will be in the next blog post.

Best wishes for Fall Art Season 2018 -
Beth New York

aka Beth S. Gersh-Nesic, Ph.D.
Director and Owner
New York Arts Exchange, LLC

Tuesday, July 17, 2018

Last Call: "Life Like" at Met Breuer, Colonial Mexico at Met Fifth, Adrian Piper at MOMA, Radical Latin American Women Artists in Brooklyn through July 22; "Parks" and "Versailles" at Met through July 29

Philippe Curtius, Sleeping Beauty, 1989, after 1765 original
Courtesy of the Met Breuer

Closing dates mid-summer are rare, but indeed noteworthy as eight (8) very important exhibitions end this weekend, next weekend and the first weekend in August. Mark your calendars and make time to see these shows, if you haven't seen them already.  I have seen them several times and intend to see each one again to bid them a fond farewell. Yes, they are that good!

Ron Mueck, Old Woman in a Bed, 2000-2002, mixed media
Courtesy of Met Breuer

Life Like: Sculpture, Color and the Body at the Met Breuer, Madison Avenue between 74th and 75th Streets, through July 22.  Here is an excellent review with more photos on ArtNet
(NB - Obsession: Nudes by Klimt, Schiele and Picasso also on view at Met Breuer through October 7th.)

Juan Patricio Morlete Ruiz, VIII, From Spaniard and Morisca Albino, c. 1760

Painter in Mexico, 1700-1790: Pinxit Mexici at the Met on Fifth Avenue, between 81st and 85th Streets, through July 22. Please read this review in Artsy to prepare for this exhibition.

Édouard Manet, The Monet Family in Their Garden at Argenteuil,  1874,
Metropolitan Museum of Art

Public Parks, Private Gardens: Paris to Provence at the Met on Fifth Avenue, between 81st and 85th Streets, through July 29.

Visitors to Versailles exhibition installation at the Met

Visitors to Versailles, 1682-1790 at the Met on Fifth Avenue, between 81st and 85th Streets, through July 29.

Adrian Piper, Mythic Being, Sol's Drawing #1-5, 1975
Walker Art Museum, Minneapolis, MN

Adrian Piper: A Synthesis of Intuitions, 1965-2016 at the Museum of Modern Art, entrance on 54th Street, between Fifth and Sixth Avenues, through July 22.
Here is an excellent with photos review on Artsy.

Nick Cave, Soundsuit, 2011
Gift from Agnes Gund to MoMA

Studio Visit: Selected Works from the Agnes Gund at the Museum of Modern Art, entrance on 54th Street, between Fifth and Sixth Avenues, through July 22.

Ana Mendieta, Corazón de Roca Con Sangre, 1975
Rock Heart with Blood, a super-8 film transfered in digital, 3.03 minutes
Courtesy of the Estate of the Ana Mendieta Collection, LLC and Galleries LeLong, NY

Radical Women: Latin American Art, 1960-1985 at the Brooklyn Museum, 200 Eastern Parkway, through July 22.  Please read this review on ArtNet.

Marc Camille Chaimowicz, exhibition installation at the Jewish Museum

Marc Camille Chaimowicz: Your Place or Mine . . . . at the Jewish Museum, entrance on 92nd Street and Fifth Avenue, through August 5th.
(NB - Chaim Soutine: Flesh also on view through September 16th.)

Shirley Chisholm, Presidential Campaign Poster, 1972

Beyond Suffrage: A Century of New York Women in Politics at the Museum of the City of New York, Fifth Avenue between 103rd and 104th Streets, through August 5th.

Best wishes for the rest of the summer,
Beth New York

aka Beth S. Gersh-Nesic, Ph.D.
Director and owner
New York Arts Exchange, LLC
Twitter: @bethnewyork
Instagram: @bethnewyork

Wednesday, July 4, 2018

Happy 4th of July - Betsy Ross in Art

Jean Léon Gérôme  Ferris, Betsy Ross 1777, c. 1920s

The American Revolution required the support of men and women.  We usually see men in the famous paintings of daring deeds and events.   But what about images of women who contributed to the revolution? Abigail Adams, Molly Pitcher and Betsy Ross, among others.

Today the New York Arts Exchange dedicates its July 4th celebration to images of Betsy Ross and to her home in Philadelphia, where you can learn more about her life and art.

Edward Percy Moran, Betsy Ross Presenting the American Flag 
to General George Washington, c. 1917

Betsy Ross Commemorative Stamp, 1952
200th Birthday of Betsy Ross, born January 1, 1752

I must admit that I had never heard of Edward Percy Moran or Jean Léon Gérôme  Ferris before organizing this blog post - despite teaching surveys of American art for several years.  Moreover, both artists are related to the famous Thomas Moran, best known as a Hudson River School artist..

So what does that say about momentary celebrity and future oblivion  . . . .t'is our "15 minutes,"  momentary fame the American way.   Just ask  our great American artist and Pop philosopher Andy Warhol.

Happy Birthday, America!

and may your 4th of July sparkle with joy -

Beth New York

aka Beth S. Gersh-Nesic, Ph.D.
Director and owner
New York Arts Exchange, LLC

Friday, June 15, 2018

Uptown Open Studios on Saturday, June 16th - 1 - 6 PM

Move over Brooklyn and Long Island City, Upper Manhattan is happening!!!   AND - Open Studios are available to you on Saturday, June 16th.  So park in the Cloisters/Fort Tryon area and walk to 178 Bennett Avenue at 189th St. to stroll through Cornerstone Studios,  Then hop on the #4 Bus on Ft Washington down to 159th St. or take the A train at 190th St. to 163th Ave. at Amsterdam and St. Nicholas to see Sistaah Studio at 2005 Amsterdam at 159th St.   This is an opportunity you don't want to miss!

North Manhattan Open Studios

on Saturday, June 16th, 1 - 6 PM

from West Harlem to Washington Heights:

Featured Favorites are: 
from our Art Above the Sofa exhibition last April 2017
and Bosom Bodies  (Wilhelmina) last October 2017

Wilhelmina Obatola Grant, Peace is Big, mixed media

Sistaah Studio, 2005 Amsterdam Avenue, near West 159th St.
(follow the signs)


Marjorie van Cura, Untitled 0617, 2017

Cornerstone Studio entrance

And while you are up in the Heights, check out the installation of Heavenly Bodies: Fashion and the Catholic Imagination, at the Cloisters, part of the Met's current Costume Institute 2018 exhibition down at the mothership on Fifth Avenue

Best wishes for Father's Day - (let's celebrate those good guys we love to hug) -
Beth New York

aka Beth S. Gersh-Nesic, Ph.D.
Director and owner
New York Arts Exchange, LLC

Wednesday, June 13, 2018

Last Call - Contemporary Art and Islamic Tradition at Katonah Museum through Sunday, June 17th

Ala Ebtekar, Zenith V, 2014,
 acrylic over cyanotype on canvas, four panels 60 1/4 x 30 1/4 in. each. 
© Ala Ebtekar. Courtesy of the artist and The Third Line, Dubai.

Dear Friends -
Please do not miss this fabulous exhibition, closed last week for the Katonah Gala and now open again until Sunday.  Several of our favorite artists have excellent works in this show: Shirin Neshat, Ghada Amer and Shahzia Sikander.  Plus several artists you want to get to know.  These are outstanding choices for this well curated introduction to contemporary artists who are of Middle Eastern and South Asian descent. 

Here are the details on the KMA website:

Long, Winding Journeys: Contemporary Art and the Islamic Tradition presents a focused look at a group of artists of Middle Eastern and South Asian descent whose work engages the diverse forms of Islamic visual tradition to explore religion, culture, and socio-political issues today. It takes its title from Pulitzer Prize-winning playwright Ayad Akhtar’s essay, The Breath of Miraj, a response to artist Shahzia Sikander work, Portrait of the Artist. The text speaks to the manner in which Islam and its history can inspire creative life to become a “long, winding journey.” It simultaneously serves as a metaphor for the travel of a visual tradition through time and its ability to nimbly adapt to an ever-changing world.
Long, Winding Journeys brings artists’ voices to the fore as they mine links between the seemingly distant past and contemporary experience. The works in the exhibition draw from centuries-old forms—such as calligraphy, miniature painting, geometric patterning, textiles, and architecture—that have come to define historical Islamic art. Employing this lineage, the artists explore the intersection of visual traditions and other kinds of inherited histories: the rich meaning and complex constraints of religious and cultural customs; rituals of spiritual practice; political upheaval and violent conflict; and diaspora’s effect on identity and belonging. Art of the past acts as a lens through which to view present-day experience.
Artists include Anila Agha, Faig Ahmed, Ammar Al Attar, Noor Ali Chagani, Khadim Ali, Shiva Ahmadi, Ghada Amer, Afruz Amighi, Nazgol Ansarinia, Nasser Al Salem, Fereydoun Ave, Shoja Azari, Ala Ebtekar, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Susan Hefuna, Shirazeh Houshiary, Pouran Jinchi, Hayv Kahraman, Baseera Khan, Hassan Massoudy, Jordan Nassar, Shirin Neshat, Hadieh Shafie, Shahzia Sikander and Ayad Akhtar, Kurosh ValaNejad and Peter Brinson, and Imran Qureshi.
This exhibition is organized by Guest Curator, Elizabeth Rooklidge, with research assistance from curatorial intern, Caitlin Monachino, and Assistant Curator, Olga Dekalo.

Back soon with more info about this exciting art weekend -

Beth S. Gersh-Nešić, Ph.D.
Director and owner
New York Arts Exchange, LLC

Monday, May 21, 2018

Transatlantic Conversation with French poet Jean-Luc Pouliquen Live and Online, Tuesday, May 22 at 1:30 PM NY/CT time

Cover by Paul Vilalta, Interior

You are cordially invited to a 

Transatlantic Conversation
with French poet Jean-Luc Pouliquen
moderated by art historian Beth S. Gersh-Nesic

on Tuesday, May 22nd
at 1:30 PM (NY/CT time)

Hosted by 

21 Mead Street, Greenwich, CT 06830


join us on Google Hangouts using
(Make a reservation to receive our call by writing to this email address) 

We look forward to seeing you at Byram Shubert Library or online

Bien cordialement,

Beth S. Gersh-Nesic, Ph.D.
Director and owner
New York Arts Exchange

Sunday, May 13, 2018

Celebrating Grant Wood on Mother's Day with a NYAE blog repeat -

Grant Wood, Hattie Weaver Grant, 1929

Repeating my Mother's Day 2016 New York Arts Exchange blog post because it was dedicated to my mother, Mildred Gersh - her last Mother's Day with us. Plus the Grant Wood painting is featured in the current Grant Wood retrospective at the Whitney Museum, closing on June 10th (a terrific show).

Happy Mother's Day to you and yours.  This blog post is dedicated to my mother, Mildred Gersh, who gave me a love for art through our many visits to museums.  Thank you, Mom.

Please make visits to museums a frequent and pleasant experience for your family.  Take your children and grandchildren to a museum for a short time - an hour or so.  Not too long.  Just enough time to whet the appetite for more, another day. 

Also, have the children select a reproduction in the bookstore as a souvenir of the trip to the museum. The purchase not only supports the museum, it also extends the experience past the doors of the museum and into one's personal space, one's comfort zone.

I urge you to frame these museum reproductions so that they hang in the child's bedroom, creating a personal connection that will last a lifetime.

Rembrandt van Rijn, Neeltgen Willemsdochter van Zuytgbrouch. van Rijn, 1629

Rembrandt's mother's face is familiar to us through other works wherein she served as his model.

Vincent van Gogh, Anna Cornelia Carbentus van Gogh, 1888

Almost smiling, Anna van Gogh seems to listen intently.  She provided solace for her son when he was at odds with his father. An artist in her own right, she too studied art and drew plants and flowers in notebooks. 

Andy Warhol, Julia Justine Zavacka Warhola, 1974

Julia Warhola is truly the Mother of Pop Art.  Her charming European script graces most of Andy Warhol's early works, such as the greeting cards and clever books. Examples of her work are currently on view at the Morgan Library in the exhibition Warhol by the Book, which closed on May 15, 2016.

Henry Ossawa Tanner, Portrait of the Artist's Mother, 1897
Philadelphia Museum of Art

Henry Ossawa Tanner's mother, Sarah Elizabeth Miller, was the eleventh child of a slave who sent her children to freedom through the Underground Railroad.  She arrived in Pittsburgh, sponsored by the Pittsburgh Abolitionist Society.  Sarah Miller married Benjamin Tanner, a college-educated teacher and minister who became the bishop of the African Methodist Episcopal Church in Pittsburgh.  Henry Ossawa Tanner was born on June 21, 1859.  The only black student in Thomas Eakins' class at the Pennsylvania Academy of Art from 1880 to 1888, he moved to Paris in 1891, where he enjoyed success as an artist.  He returned to the US for a short time (1893-94) to set up a studio, but was not as well received as in Paris. He returned to France, where he married the Swedish-American opera singer Jessie Olsson and they lived out their lives together. This portrait of his mother may have been painted during a visit to his mother's home or during his mother's visit in Paris.  Another portrait of his mother belongs to the Smithsonian American Art Museum.    

Happy Mother's Day to you and yours - 
Beth New York

Beth S. Gersh-Nesic, Ph.D.
Director and owner
New York Arts Exchange,LLC

Tuesday, May 8, 2018

New York Art Week May 2018 and the Rockefeller Sale at Christie's

Pablo Picasso, Girl with a Basket of Flower, 1905

What a weekend we have had, from the Frieze extravaganza on Randall's Island to TEFAF at the Park Avenue Armory at 67th Street and The Moniker Art Fair in Greenpoint,Warehouse in Brooklyn.  A veritable tsunami of art opportunities, wall-to-wall, in each venue.  If you missed any or all of the May Art Fairs this week, click on this article in Hyperallergic that summarizes the best in Manhattan and Brooklyn

Paul Gauguin, La Vague (Wave), 1888

However, the most powerful gush of art force has to be the Collection of Peggy and David Rockefeller sale at Christie's, slated for auction on Tuesday evening, May 8th at 7 pm and Thursday morning, May 10 at 10 am.  The expectations already have hearts pounding like the surf in Paul Gauguin's dizzying bird's-eye view of the Le Pouldu. tersely entitled Wave This paintings alone will surely fetch buckets of money that Gauguin could have used way back in 1888. (Click on the auction catalog essay for the details surrounding this painting, executed during one of the artist's lengthy sojourns in Pont-Aven, Brittany - January through October, preceding his famous roommate kerfuffle with Vincent van Gogh that ended abruptly just before Christmas.)

Claude Monet, Nyphéas en fleur (Waterlilies in Flower), c. 1914-17

Another tidal wave of cash will definitely come from the late Monet Waterlilies in Flower, completed before he started the ambitious waterlily murals on view at the Musée de l'Orangerie, virtually on view right  here.  No doubt this WWI period piece shows off  this Impressionist's evergreen range while in his 70s.  His youthful exuberance teeters on the cusp of abstraction.

Pablo Picasso's Girl with Basket of Flowers (once called La Fille au Pavé) at
Christie's, May 2018

Still - my bets are on Picasso's Girl with a Basket of Flowers, painted during the autumn of 1905, as the all-out top seller for the whole auction.   This work belongs to the year Fernande Olivier moved into Pablo's pad in the squalid Bateau Lavoir.  Similar in sobriety to Boy with a Pipe, 1905, wherein a serious young man dressed in a worker's blue outfit is crowned with roses (a gesture that turned the mundane into the otherworldly), this careworn young lady also wears her professional attire - nothing.  Clutching her straw basket brimming with red smudges of some sexually suggestive blooms (poppies, roses, anemones - the tears of Venus as she mourned the death of Adonis), we note all the obvious absences: clothes, context and individual identity.  Who is she in the painting? She is a model, pure and simple, and one who probably beds the artist between poses.  She is young, she is  pretty, but she is not happy.  Rather, she seems bored or just dog tired.  She is tired of holding the basket and she is tired of the life she is forced to live.  Picasso knew Manet's famous painting of a prostitute Olympia, wherein the flowers were handed to her maid by the one who entered her chamber (you).  Picasso's poor street urchin, identified in Jean-Paul Crespell's book Picasso and His Women (1967)  as Linda La Bouquetière, can't afford this luxury.  She was a local flower seller who seems to be no more than 16 years old.  Picasso's choice of expression inspires sympathy.  Like Olympia and all of her sisters, this child, who anticipates womanhood in full flower, will age quickly, like the rosy red petals in her basket.  Her oddly aged face seems to predict this outcome.

Henri Matisse, Odalisque Couchée aux Magnolias, 1923

In contradistinction, Henri Matisse celebrates sensuality and sexuality in his Odalisque Reclining Among the Magnolias  though the addition of flowers that suggest an erotic perfume in the midst of seductive surrender. Here lies languid pleasures in sultry climes, a feast for the artist who shares his delight in the female body.

So - have your picked your favorite?  Virtual paddles ready for the BIG NIGHT.  
Turn in online to witness this inevitable historic occasion.

And may the best bidder win!

Beth S. Gersh-Nesic, Ph.D.
Director and owner
New York Arts Exchange, LLC

Thursday, March 29, 2018

Christina Thomas: Healing Through Art

Christina Thomas, "Hope" Prayer Box, 2017, featured in the Bosom Bodies exhibition, 2017

Spring is finally here!  And with the warmer days, we plant seeds in our gardens to bring us the  beauty of flowers and healthiness of fresh food.  In short - we not only hope for better days ahead after winter, we make it happen with our own creative forces.

Artist Christina Thomas knows this too well and practices sowing her seeds of hope through her art. She began with herself and then she spread her "power of personal freedom" to others in need of healing, inspired by Dr. Winston Collins' book.  What else inspired her?  Here is her story: 

Christina Thomas, Untitled, 2017

Beth: When did you decide to dedicate yourself to developing the artist within yourself?

ChristinaI have been painting since I was 11 as an emotional outlet. After a severe flair up with Multiple Sclerosis.  My body and spirit were broken.  Painting became a therapeutic endeavor sculpting tissue into text.  This was the way of healing the agility of my fingers but not my soul.  I found myself in a very dark place and a spiritual journey was set before me.  I began working on a series called Seven Ways to Sunday.  It was based on the sermons I was hearing each Sunday.  I had been led to a community of believers.  They taught me that God was love.  Love is for everyone.  The shame and guilt began to melt away.  My art became less about escape and began to heal what was broken within.

Beth: What were the circumstances? 

Christina: The circumstances I had to overcome were the fight I had within myself.  I was struggling to be authentic.  I was struggling with past trauma.  I was dealing with kidney failure and the terminal diagnosis that accompanied it.  My marriage was beginning to fall apart.  I was also dealing with living with Multiple Sclerosis.  These circumstances made me adapt how I articulated my truth on the canvas.  My muse was the pain because words at times were too painful to vocalize. The brush allowed me to be present in the stroke and acted as a guided meditation.  Each stroke quieted my mind.

Beth: How did you find time?

Christina: At that time I was teaching art to the developmentally disabled.  It was an atmosphere filled with love.  My students took care of me and fed the part of my soul that was so empty.  I would work when I was inspired and also I was great at working on a deadline.  I made working a priority on a regular basis.

Christina Thomas, Untitled, 2017

Beth: Where did you work?

Christina: I painted on flat surfaces, my lap, the floor included.  I was an intern at the Pat Hearn Gallery in Chelsea during my undergrad.  I began working as a medical receptionist in dermatology and the remainder of my career as a cardiology technician.  At this point I was trained to do wound care.  Wound care was my inspiration for the way I sculpted my text on the canvas and using ink to add color.   Packing of the wounds and the different types of dressing allowed a different layer of my work to emerge.

Beth: Did you receive encouragement from your family or friends?

Christina: In the beginning my art was seen by some as a hobby.  It began to become recognized as I had exhibitions and grew more dedicated myself.  Friends always gave me their full support.  My first solo exhibition was filled with friends and family.  All I wanted was my art to have a life outside of my bedroom. 

Christina Thomas, Prayer Box, 2017, featured in Art Above the Sofa, April 28-30, 2017

Beth: Who are the greatest influences on your work?

Christina: God is the greatest influence on my work.  My work would not be possible without his grace. I have almost died from medical complications on more than one occasion.  Each time I made it through I had a new understanding that I had a purpose.  Having recently been gifted a kidney and no more dialysis I have been born again.  My new collection of art and the pieces leading up to it mark a change in my spirit.  Today my art is about gratitude.  
My grandparents are also an influence.  Knowing what they lived through and living in a time when "Back Lives Matters" is chanted in the streets is a strong juxtaposition to where African Americans have come from.  My grandfather was a doorman and my grandmother a maid and the both took pride in their work. They were diligent and responsible in every task.
The artists that moved me the most were Frieda Kahlo and Jean-Michel Basquiat.  Kahlo endured a long medical crisis and I could identify with her.  She embraced her art in such a unique way by drawing on her body cast.  Her art was her narrative.
I am equally in awe of Basquiat and his use of text.  I loved the way he made you read his story.  He drew your attention to it by crossing out letters.  His art reflected his claim of being a King in his crowns.  
Both artists greatly influenced my thinking and me.

Christina Thomas, Prayer Box, featured in Bosom Bodies exhibition, October 2017

Beth: What are the greatest influences on your work?

Christina: The greatest influences on my work are my life experiences.  My illness has made me see life through different glasses.  It is in the healing that the work evolves.  Other influences have been the issues of Black Lives Matter, the Environment, Domestic Abuse and organ donation.  I am influenced by my personal world and the world at large.

Beth: You have discussed art and healing, art and adversity – please tell us more: How does art play a role in your healing process?

Christina: Art is the place where I release feelings freely on canvas.  Painting is a place where my mind can rest.  It is a place where I can laugh and a place where I can cry.   The strokes and colors I choose allow me freedom and, for a moment, the control that I do not have over my body, or the physical, stops.  My focus is confined to 16 x 20 inches and the primary colors. Creating a cohesive or a chaotic quality gives me the power of choice.

Beth: Does it express your sense of healing?

Christina: Art does not always express a sense of healing but willingness.  It can be the beginning of peeling the onion on a larger issue that leads to healing.  The expression of healing is picking up the brush, letting the fear go and creating.  Creating just for you as though no one is looking.  My sense of healing can be felt in the confident strokes, but more so in the times when I use a spoon to apply colors because the MS will not allow me to use a brush. Healing takes time.

Beth: What does “art and adversity” mean to you?  Please tell us about your philosophies.

Christina: I have faced adversity and art was my way out.  Art was a world I could escape to.  I was able to get lost in the colors and the canvas.  Emotion and concentration helped me to find balance between hue and shape. Art was my bridge.  It seemed as though I was always surrounded by adversity.  Art served to get me from point A to B.  It was my constant. As a patient in the hospital I would create in my mind and on home dialysis I would paint during that treatment.  Art has been necessary for my survival and has anchored me to reality.  My paintings tell my story and show the path through my adversity.  The art was God’s gift to me. The art was God’s life preserver.  So far it has worked time and time again.

May Christina Thomas' work and her words be an inspiration to you all - hope, create and share  your love through your art.

To learn more about Christina Thomas' work, please contact her directly at  

You can also view her work in person at the Art Tour International Magazine exhibition, opening on April 28th.  For more information about the exhibition and Christina's work in the exhibition, please contact the curator Viviana Puello through Art Tour International Magazine.

Best wishes for Passover and Easter,

Beth S. Gersh-Nesic, Ph.D.
Director and owner
New York Arts Exchange, LLC
Twitter: @BethNewYork