Renee Samuels (Artist)
Post Contemporary Art
Artist’s Press Excerpts
“There’s also an observant and transformative pair of photos taken from a television–old movies as inner metaphor–by Renee Samuels, better known for her painting.” Paul Smart, Woodstock Times, 3/24/05, about “Open Ends: The Narrative Impulse” at Ulster County Community College, Mar-April 2005
“Renee Samuels, a long-time regular of the local arts scene with a wide range of styles, is represented by, among a series of works, two grand portraits of medieval popes, which lend the Infinite Eye’s back room a strange mixture of emotions, mingling epiphany with the sepulchral.” Paul Smart, Woodstock Times, 2/24/05
“Expect a heady mix of works…”. Paul Smart, Woodstock Times, 9/4/03, about opening of Cross St Atelier exhibition curated by Renee Samuels
“Highlights [from Works on Paper, Tivoli Artists Co-op] included some nice monoprint work from Renee Samuels…”. Paul Smart, Woodstock Times, 6/26/03
“Three works of oils on charcoal paper (25×19″) have a feel of Degas studies pushed to the brink of abstraction–but not beyond…. The level of control over medium and subject stand out in Samuels’ work.” Parry D. Teasdale, The Independent, 9/6/02
“Renee Samuels’ solo exhibition, Field, at the Woodstock Artists Association was delightful. There was an aura of quiet and serenity as I entered the lower-level gallery. “The Wildflower Series,” monotypes, were of very specific and not-so-specific flowers and were pinned up around one-third of the room. “The Color Series,” oils, allowed me the privilege to share Renee’s explorations with color and texture. I could have spent quite a while with any one of them. Congratulations on a fine show.” Cornelia Seckel, Art Times, 12/01
“Samuels’ five paintings of ‘The Popes’ are a tour de force…. Her unidentified popes are an achievement in brilliant color and detail, the individualized faces evidence of Samuels’ skill at portraiture…. ‘Hilal’ is a series of some half-dozen nude poses, presumably of he same young woman, whose serious, expressive face we see only once in the lower left corner of the canvas, looking away to her right. Done from virtually every angle, the nude studies are beautifully rendered, with enough artistic blurring to enhance them with a sense of mystery.” Mary Cassai, Daily Freeman, 11/24/00
“Samuels’ work is on-target direct, and her pieces have grace and resonance.” Rich O’Corozine, Woodstock Times, 9/22/94
“Renee Samuels’ works are stylistically diverse. Whether painting, collage, drawing or pastel, they share the offering of subtle illusions. Her collage of drawing and newspaper uses color and form, portraying alternately receding effects. Brilliant oily crayons, in wild limes and crimsons, play against black paper in another work. She creates geographically sectioned figures with strokes simulating torn forms, hard-edged, lyrical shimmers. Spontaneous shapes cavort within an almost mathematical approach to composition. In “Pey,” a black oil-on-paper painting of a sleeping person, there is no illusion beyond the greatest illusion of all, the concept of there’s more than meets the eye here. Behind the simple lines of this work, embodied in the sweet, nearly simian curve of this sleeping person’s cheek and lips, Samuels communicates an emotional agenda.” Dakota Lane, Woodstock Times, 12/5/91
“While the exhibition is small (15 pieces), it is richly varied in style, color values and emotional and technical textures. Generally speaking, Samuels’ work excels in subtle yet vibrant use of color and thoughtful composition to imply detail…. Her portraits linger on the faces of the subjects with perception and skill, while other details in these pictures are implied by contrasting color values applied with precision…. Some of Samuels’ scenes leave enough to the viewer’s imaginations that they can be enjoyed as abstractions. However, one particularly memorable work, “A Memory,” is a haunting sand-toned oil of a castle–or perhaps an ancient temple–rising at the brink of a sheer cliff. Unique because of its subtle monochromatic color scheme, this work will probably receive a different interpretation from every viewer. Renee Samuels is one of Woodstock’s newest artists, having only begun to paint four years ago. The variety and development her work shows in such a short time would do credit to a much longer art career. It will be intriguing to watch her further development.” Lei Isaacs, Woodstock Times, 1/17/91
“In general the majority of the paintings exhibited in the Dutchess County Art Association Spring Juried Members’ Exhibition were common and showed no risk. Two exceptions were the forceful images in “Truth, Justice and the American Way” by Renee Samuels and….” Leland S. Martin, Jr., Poughkeepsie Journal, 5/19/89
Article by James Day
Curated by Art of Day, TwitterFirstFriday creative exhibitions reach an even larger audience through Facebook and the TFF Gallery Edition newsletter. This exclusive publication features only the highest caliber art from each event. In addition, subscribers receive the always new and exciting Friday Night Artist Features! Make sure to subscribe!
Wondering how Art of Day develops and grows events like TwitterFirstFriday? Visit the Art of Day Store when looking for art supplies or other common everyday products. As an Amazon Affiliate, we earn small commissions when purchases are made through our secure, Powered by Amazon aStore!
Art of Day is maintained by dedicated NetSys Interactive Inc. owners and employees who generously contribute their time to maintenance and editing, web design, custom programming, & website hosting for Art of Day.