Living Paintings (Rise and Fall)
In 1991, I created a series of works that I called 'Dead Paintings (Rise and Fall),' which explored themes of deconstruction, holding onto and containing the essence of a painting. In 2023, I revisited this concept, but titled them 'Living Paintings (Rise and Fall).' With age, perspectives evolve, as well as the work.
Scuff Paintings 2018
These are kinetic works and the only ones that i have created. they will possible be revisited at a later date as i do so often with all my bodies of work.
Bag Paintings (Transparent Negative Plastic )
These works are crafted from plastic sheets, tacked to the wall for protection. They capture and preserve the paint marks which seeped through the burlap fabric of the inside-out burlap bag pieces. The plastic sheets were sewn into bags, preserving the painted lines left over burlap fabric and wood on the inside of the bag. I consider these pieces as negative imprints and remnants of those original works as well as exposing process.
Silverstein Gallery, Chelsea, New York, 1998
Solo Show at Silverstein Gallery, Chelsea, New York, 1998
Earthworks 1999-2001 - "Surface" at Socrates Sculpture Park, Long Island City NY
Environmental Earthworks:
Surface is an environmental earthwork created at Socrates Sculpture Park between 1999 and 2000. Inspired by the bulging burlap sacks of paint produced in the studio, Surface uses earth to evoke the same tension and sense of weight. Designed to shift the viewer's perspective, the work invites people to engage with the surface of the earth at eye level, rather than from the typical aerial viewpoint.
The piece takes the form of a large, bulging burlap sack of earth, supported by two wing-like structures that emerge from the ground. Visitors can access the installation via steps located on either side, descending into a moat-like space. Here, viewers find themselves at eye level with the plush, green turf that extends into the distant landscape. Chamomile, planted along the perimeter, fills the area with a soothing aroma as participants experience the contained force of the earth.
Surface evokes a sense of ceremony or ritual, resembling an ancient dwelling nestled within a contemporary landscape. It is the first in a series of earthworks exploring our connection with the environment. The sequels to this work are Opposing Surfaces, Center of the Surface of the Earth and Under the Surface.
"Two Person Show" At Momenta Art, Brooklyn, 1997
Howard Schwartzberg and Dale Anthony
This is the first time I showed a Bag Painting full of paint. Click on the image to see installation views.
The Drawing Center "Selections 15" (First Set of drawings) 1990
These drawings were shown at the Drawing Center and at Stux Gallery in Soho, NYC in 1990. (Remaining drawings from a series of thirty six.)
Drawings (Fish Scale) 1992
Carp fish scales, pen, glue on paper.
Nine drawings in the set, 12 x 9 inches each .
Drawings (Peach Tree) and their verso 1993
Peach Tree Drawings 1993 set of five drawings and their verso.
peach tree flower peddles, pen, glue, white out, acetate and soil on paper
Drawings (Red Wax) 1994
(set of twelve drawings)
To be viewed in order 1-12 red wax and pen on paper
Drawings (stress) 1996
56 drawings in the set
5 individual drawings shown in this collection, pen and water on manila paper.
Drawings (As Advertised) 1997 -2000
In 1997, I found a stack of 'As Advertised' pads of paper on the sidewalk outside my studio door. The bold red design and text had a commercial pop art feel and caught my eye. At that time, I was working on large-scale works for my first solo show in Chelsea. Because of my upcoming show, the idea of placing a monetary value on my art had become a real issue. I began using these papers to sketch out ideas for potential future works.
The “As Advertised” papers became a kind of paradox for putting ideas down, clarifying for me that I was making an object that could also be interpreted as a product. On some of the drawings I canceled out the words “As Advertised” and wrote the word “reminder” in its place. Other times I would cross out the bottom phrase “Our price is right”. Although struggling with the concept of my art being a commercial endeavor, I liked that the sketches showed ideas I was developing at the time as part of a consistent visual language.
