Gayle Madeira: Burlesque and Film Portraits Exhibition


Art Exhibition in New Orleans and New York City

"Mr. Peacock" - Oil on board, 18" x 24"

“Mr. Peacock” – Oil on board, 18″ x 24″

Come see my latest paintings of burlesque and film portraits in New Orleans and New York City! Preview the entire series here: fineart.gaylemadeira.com

The exhibition includes portraits of: Antonio Ramos, Miss Dirty Martini, Tigger-James Ferguson, Denise Dalfo, Rieko Yamanaka, Bethel Caram, Renee Tuzun, Daniel Eberle, Jillaine Gill, Amanda Bender, Beau Allulli, Paul James Vasquez, Tioma Maloratsky and Gayle Madeira.

New Orleans: The Foundation Gallery
Date: August and September 2013, opening reception on August 3, 2013 which is also White Linen Night, a great art event/party in NOLA known as the “SoHo of the South.” See details below.

Place: The Foundation Gallery, 608 Julia Street, New Orleans, Louisiana

Gallery Hours: Tuesday and Wednesday 11-4, Thursday – Saturday 11-6

 

New York City: La Nacional
Date: ONE NIGHT ONLY! Thursday, July 25, 2013

Place: La Nacional (the event space on the 2nd floor, not the restaurant on the ground floor)
239 West 14th St. (between 7th / 8th ave), 2nd FloorCost: 5-7 is free, after 7pm it is $15. Wine served all night… free from 5-7 and you have to pay after 7pm

Time: 5-7 pm will be the main showing with the lights on. After that, there are tango lessons from 7-9:30 (which you are encouraged to attend! Beginner lesson is 7-8, intermediate is 8-9:30) and then there is social tango dancing from 9:30-2am. The paintings will be up all night but you won’t be able to walk freely around and see them all very easily during the dancing part of the evening so if you aren’t a tango dancer, I highly recommend coming from 5-7.

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About Gayle Madeira: “An internationally recognized professional artist and dancer who grew up on a farm in Northern Virginia, Gayle Madeira explores her fascination with the physical body through both media. In the words of the artist: “I am obsessed with figures and giving them the most honest representation that I can in artistic form.” As a painter, she shows an exceptional attention to detail and applies techniques that distinguish her work. Her black and white charcoal portraits on gesso board, like those featured in the film “Prayer to a Vengeful God” possess both painterly and graphic qualities. In her highly detailed, to-scale, tightly cropped portraits, every hair and wrinkle is visible. From afar, it is possible to mistake her drawings and paintings for photographs. Upon closer inspection, the lines and shading, the trace of the hand, becomes apparent. Madeira started working in oil paint in 2009. She is also known for her animal portraits in watercolor which she creates using a unique dry-brush technique. Madeira’s work has been exhibited extensively in New York City and throughout the United States.” –Tracy Adler, Director of Ruth and Elmer Wellin Museum of Art at Hamilton College
Gayle Madeira’s website: gaylemadeira.com

About White Linen Night: It has been called the “SoHo of the South” and every summer during the first Saturday evening in August, the Warehouse Arts District centering on Julia Street shows why it has earned that nickname. For three hours on that first Saturday evening in August, five blocks of Julia Street are closed to vehicular traffic and a huge, festive, uniquely New Orleans-style block party known as Whitney White Linen Night kicks off. The event is free and open to the public.

About the Foundation Gallery:  Proceeds from each sale at The Foundation Gallery go to one of the Heymann Foundation’s invaluable charitable causes. Each show supports a different cause. The Heymann Foundation is a thirty five year old 501 C -3 charitable organization. It functions under the belief that it is knowledge and education, combined with compassion, that are the tools needed to positively enrich a community. The Heymann Foundation has not only aided in disaster relief, but has been prevalent in the rebuilding efforts in Louisiana by supporting such organizations as The United Way, American Red Cross, The Salvation Army , The Dryades YMCA, Habitat for Humanity, Food Net, Good Will and Lazarus House. The Heymann Foundation is a large supporter, both locally and nationally, to The Alzheimer’s Association. They have donated to the American Jewish World Congress to help those affected by the devastating tsunami in 2006 and Haitian earthquake relief. Their commitment to diversification is also evident in their support of several local and statewide art, music and animal charities. For more information about The Foundation Gallery, please contact Lila Heymann atlheymann@aol.com or Erica Amrine at thefoundationgallery@gmail.com or call 504-568-0955.

Copyright © 2013 Gayle Madeira, All rights reserved.

Review: Antonio Ramos and the Gangbangers in NEVERLAND


I went tonight to see my good friend (and current model for painting) Antonio Ramos and his Gangbangers dance performance entitled NEVERLAND at El Museo del Barrio in Spanish Harlem. It was fabulous and I’m going to tell you all my opinions about it now.

First, a little background information. As most of my friends know, I’ve been naked my whole life… under my clothes of course. But I also have a penchant for taking my clothes off often and often in public. Tony and I share SUNY Purchase as an alma mater as well, both graduated from there with degrees in dance performance and choreography where we learned how to formally (and informally) structure dances. 

In this day and age, it is very difficult to shock anyone. Tony’s full length work tonight was shocking. It was shocking in all the best ways, and it isn’t as if he woke up one morning and said “I’m going to SHOCK AMERICA!” No, it just came from all of the particular elements that make up Tony’s vision coming together and bursting out from the stage. It came from him remaining truthful to himself and staying completely unique, but then refining that untamed wildness into form and structure. 

This was a complete dance concert, with all the elements of a formal dance production, done on a proscenium stage in a nice theater. The choreography was well-structured with recognizable themes and variations. It had all the bones of an excellent piece of choreography that I expect from a Purchase grad, but then he steeped it in…well…himself! 

What came out was gorgeous, full of spirit, sass and heart, with the structure giving it the foundation underneath. The performers had crazy metallic wigs and entered down the aisles, taking ownership of the theater right off the bat. Later they had shiny heels and sparkly jewelry. They blew up condoms to use as fake boobs. They did solos, duets, trios, quartets that were in turns funny, moving, raw, silly, lovely and many other emotions. Tony spoke in a microphone and was a shining diva in the spotlight, serving as a narrator throughout and doing a sumptuous, delicious solo in the middle. The dancers wove in and out of each other, creating patterns on the floor. They hung from the edge of the stage and dropped into the orchestra pit. 

However, on top of all this wonderful stuff, for the entire evening-length piece, every single performer, all three men and two women, were completely, totally naked. As I said, I’m comfortable with nudity. Overly comfortable! I’m painting burlesque dancers right now for my show in New Orleans, and have performed burlesque for most of my adult life, and have performed naked in modern pieces, but to see this many modern dancers doing modern dance movements completely naked for the entire performance was amazing. 

In the talk back after the show, many people said that they stopped noticing the nudity at some point during the piece. Some of the performers felt that their nudity was a costume, some felt it was a defense. Personally, I noticed the nudity the whole time, and loved it the whole time. To see these beautiful human bodies in this natural state for so long, to see them in every position, and doing beautiful movements with them, and on top of that they were all voluptuous bodies and voluptuous movers, was transformative. 

I also saw the work from a painter’s perspective. I’m used to painting nudes who are sitting for long periods of time while I draw and paint them. In this dance, the nude painting models came to life and danced. It was breathtaking.

The ending took it all to an even greater height. Tony finished the piece with his four dancers bent over from the waist with their butts to the audience, starting upstage and walking their way very slowly with tiny steps downstage, then down the stairs and finally ending up right in front of the audience, IN the audience! It started out as slightly titillating, seeing all these full-on butts moving slowly, slightly and sensuously, but it soon became completely captivating. It became beautiful otherworldly beings who had only legs and butts, their bodies truncated from the hips up. When they finished right in front of our eyes, literally, it was very meditative. The juxtaposition was delicious, as if they were fabulous marble statues who had just come to life, danced around in a New York club with glitter and wildness, and then came back to stillness and repose.

Throughout the night, the dancers were entirely comfortable in their nudity, calmly confident the entire piece. It was a tour de force of performing and choreography and I’m sad that it was only produced for one night. I hope that some funding falls out of the bright blue sky for Antonio and his piece because it should be done again. I can see it in the Avignon festival, or the Edinburgh Festival. If any of my friends reading this have any connections with any festivals, please let Antonio (or me) know. Thank you Tony and all your Gangbangers, for baring your heart and soul and your butts. I thank you from the bottom of my heart, and my bottom. The dancers were: Joey Kipp, Adele Loux-Turner, Antonio RamosSaúl Ulerio and Rebecca Wender. The incredible dramaturge was Charles Rice-González. Lighting design by Amanda K. Ringger, stage manager was Asami Morita. The costumes were expertly done by Mother Nature, who should receive an award for those costumes let me tell you!

PS. One more word about El Museo del Barrio, that place is rockin! I’m sad to say that this was my first time going there, but happy to say that I’ll definitely be back. Every Wednesday the museum is free and in the summers, they have an after hours party in the cafe. The resident DJ Les Carbonell was spinning amazing music, everyone from little (little) kids to grandparents and in between were dancing, there were good drinks to be had and the general atmosphere was incredibly friendly and fun. It really did feel like being in the barrio, not like some fancy museum party. I highly recommend it!