Stephanie Lempert   "Unexpected Perspectives" May 22 to June 21, 2008   preview with the artist Thursday, May 22, from 6 to 8 pm In Stephanie Lempert's new series of photo based portraits the Artist goes far beyond what we would normally expect to see as portraiture. By focusing on her sitter's life experiences and how they have affected that person's aging process, their faces have become for Lempert a true road map of each person's outlook on life.  Inspired by the concept of a secret which is hiding in plain sight, the Artist uses the tell-tale wrinkles on her subject's faces to tell the stories of their lives.  Written in her sitter's own hand, snippets of thier stories are laid into the creases on their faces.  Thus these wrinkles become part of a canvas on which memories, pleasant or unpleasant, are indelibly etched, just as our memories are etched into the recesses of our own minds. For more information CLICK HERE CLAIRE OLIVER GALLERY 513 West 26th Street, New York, NY 10001 / Tel: 212.929.5949 / This email address is being protected from spam bots, you need Javascript enabled to view it

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The New York Times May 14, 2008 Robert Rauschenberg, Titan of American Art, Is Dead at 82 By MICHAEL KIMMELMAN  Robert Rauschenberg, the irrepressibly prolific American artist who time and again reshaped art in the 20th century, died Monday night. He was 82. He died of heart failure, said Arne Glimcher, chairman of PaceWildenstein, the artist's gallery in Manhattan. Mr. Rauschenberg’s work gave new meaning to sculpture. “Canyon,” for instance, consisted of a stuffed bald eagle attached to a canvas. “Monogram” was a stuffed Angora goat girdled by a tire atop a painted panel. “Bed” entailed a quilt, sheet and pillow, slathered with paint, as if soaked in blood, framed on the wall. They all became icons of postwar modernism. A painter, photographer, printmaker, choreographer, onstage performer, set designer and, in later years, even a composer, Mr. Rauschenberg defied the traditional idea that an artist stick to one medium or style. He pushed, prodded and sometimes reconceived all the mediums in which he worked. Building on the legacies of Marcel Duchamp, Kurt Schwitters, Joseph Cornell and others, he thereby helped to obscure the lines between painting and sculpture, painting and photography, photography and printmaking, sculpture and photography, sculpture and dance, sculpture and technology, technology and performance art — not to mention between art and life. Mr. Rauschenberg was also instrumental in pushing American art onward from Abstract Expressionism, the dominant movement when he emerged during the early 1950s. He became a transformative link between artists like Jackson Pollock and Willem de Kooning and those who came next, artists identified with Pop, Conceptualism, Happenings, Process Art and other new kinds of art in which he played a signal role. No American artist, Jasper Johns once said, invented more than Mr. Rauschenberg. Mr. Johns, John Cage, Merce Cunningham and Mr. Rauschenberg, without sharing exactly the same point of view, collectively defined this new era of experimentation in American culture. Apropos of Mr. Rauschenberg, Cage once said, “Beauty is now underfoot wherever we take the trouble to look.”

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