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“Amy”

Acrylic on canvas with clamps, 72 x 108 in.

Cliff Baldwin

Cliff Baldwin is an artist, composer, designer, and filmmaker. He lives and works in Aquebogue, New York.
His work is in numerous collections including The Museum of Modern Art, The Brooklyn Museum, The Walker Art Center, The Museum of The Art Institute of Chicago, The National Gallery of Canada, Stanford Library, UCLA Library, Serralves Museum, Portugal and The Museum of Rhode Island School of Design.
Baldwin founded and curated the large format artist publication, ¡AQUI! in 1983. From 1989-1995 he exhibited large scale installations and multiples with Fluxus artist Davi Det Hompson as Baldwin+Hompson, and has exhibited public sculpture in New York, Mexico City, and Stockholm since 1989. He taught graduate design at Pratt Institute from 1992-2000. 
Baldwin is the founder of the Aquebogue Contemporary Music Ensemble [ACME] a multinstrumental group devoted to 
contemporary electracoustic music. ACME performed at the Rites of Spring Music Festival from 2016-2019 on the East End of Long Island.
Baldwin’s films and video have appeared at the Kitchen, Galapagos Arts Space and Anthology Film Archives. His block-long urban video premiered at Richmond’s InLight Festival in 2010. The Language of Light, his live urban projection was shown at InLight Festival/Richmond in 2012 and at the Parrish Art Museum in 2015. House of Fubb, his robotically fabricated pavillion was built at The Center for New Art at William Paterson College in 2017. He founded and curated the Harvest Arts Festival at the 1731 Jamesport Meeting House in Jamesport, NY in 2018. In 2020 his ASTRI and LIGO-A-GOGO outdoor sound and video mixes debuted at the Custer Observatory in Southold, NY. His Damn Epic Pandemic live mixes have been streaming throughout 2020.
Baldwin directs Aqui Editions, an online source for artists books and prints. An Aqui retrospective was exhibited at MoMA PS-1 Artbooks in Queens NY in 2019. Baldwin has also been principal designer along with his wife Marta Baumiller, at Lampa LLC, a lighting design firm on the East End since 1991.
Baldwin’s work is at: CliffBaldwin.com, Aquieditions.com, Lampa.com, Bandcamp.com, and iTunes
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Double McD, 2012, 21x18in. each in two parts

Rainer Gross

By Michaël Amy
In 1996, Rainer Gross began using the method of monotype-production to make paintings on canvas—in order to expand the latter’s formal and emotional range. When one creates a monotype, one applies ink or paint to a slick surface of metal or glass and presses that surface onto a sheet of paper, thereby obtaining a unique print. Gross was intrigued by the image that was left on the plate at the end of this process, and sought to obtain its equivalent in painting.
He proceeded to apply multiple layers of water-based pigments onto a canvas and then covered a second canvas of equal size with thick oil paint, put it face down on top of the first, rubbed the back of it with both hands, and gently pulled the can- vases apart, thereby transferring medium from one support onto the other. A mirror image of the original was thereby obtained, but with minute differences, and the two canvases were displayed either side by side or one above the other. Though Gross had long been making figurative paintings, in these works he chose to work within the realm of abstraction.
The situation has changed as far as the recent Logos and Toons are concerned, for here the artist delves into the world of ready-made signs and images -“Things the mind already knows. That gave me room to work on other levels”, as Jasper Johns famously put it decades ago. Like Johns’ flags and targets, the images Gross has selected are both flat and man-made: the likenesses of Mickey Mouse, Minnie Mouse, Goofy and Pluto, the logos of major-league baseball teams, and big busi- nesses like Warner Brothers, McDonalds and Marlboro. These bold designs with their voluptuous curves or sharp edges and angles, and highly saturated, contrast- ing colors, were conceived to seize the eye. They are, for this reason, ideal territory for painting to explore. There is an aw-shucks type of admiration for these symbols of the American way embedded in these paintings, but it comes with a twist.
The appropriated images are always significantly cropped, so much so that their sources are not instantly recognizable, if at all, for those who know little to nothing about sports and are not regularly bombarded with advertising. In other words, these man-made signs are abstracted. These fragments of masterworks of 20th century American design compel us to complete the images, if we can, in our mind, thereby bringing memory into play -as art always does.
The powdery surfaces of these process-oriented paintings evoke abraded walls bearing multiple old coats of paint or weathered posters plastered one above the other and slowly revealing snippets of information lying underneath them, thereby reinforcing the sense of loss and regeneration already implied by the dramatically truncated images. Thus, beyond the fun and play, there is an undercurrent of trag- edy in these pictures of the American vernacular. All things are in a state of flux. Whether working in the area of abstract or figurative painting, Rainer Gross never lets us forget this. 
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East End Arts | mparsons@eastendarts.org | 631.727.0900

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AAQ / Resource: Buzz Chew Chevrolet – Cadillac

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