Josie Robertson Surgery Center 3rd Floor Art Walk

Please use this map to help guide you around to different works of art on the 3rd floor.

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Josie Art Walk map - 3rd floorA map showing the 3rd floor of Josie Robertson, with indicators for where each art piece is located.

Tides-17 Panels by Miya Ando (2015)

Medium: Dye on aluminum, multi panel

“I think of my work as an investigation. I think each piece comes out of the last piece, so in many ways the works and practice are a continuum of thought. I am very interested in metal for its ability to reflect and redirect light. The imagery is dye on aluminum panel and is an examination of temporality and one’s relationship to time. I like the vocabulary of dusk and dawn, these are the times of day when we visually see the passage of time most clearly and colors change and shift. I think quietude is found within. I look inward for inspiration. I want to draw people into a slowed-down environment with work that is experiential and employs the visual vocabulary of natural phenomena and transformation.”

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Sea 1, Sea 2, Sea 3 by Katherine Bowling (2002)

Medium: Color Etching

“I grew up in Virginia and spent much of my childhood around water. Our family would spend every weekend on our small Boston Whaler fishing and crabbing on the Chesapeake Bay. For Halloween I would always want to be the Ocean. I know… what can I say … it was the 60’s. One of the requirements for the portfolio to get into art school was to illustrate an inspiration that compelled me. I drew myself sitting on a rock in the middle of a river. Being in and observing Nature is art to me. In present day, I spend much of my time in upstate NY where my inspiration comes from time spent in the woods around my house. There is always something to paint if one takes the quiet time to just look at the space around them. Naturally after being educated I did not give myself permission to paint or use sea imagery as I felt I had nothing to contribute to such a cliched theme. It takes years to unlearn one’s self imposed rules and to find something new and personal to add to well documented subject matter. I did a series of Sea paintings and etchings that I believe to be some of my strongest work.”

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Appraisal by Margaret Neill (2013)

Medium: Oil on canvas

“In my work I seek a way of being that is quiet, continuous and alive. I just let the forms arrive. It’s a metaphysical exploration of real time space. I am inspired by analogies to nature as well as weather, music, sound waves, velocity scale and speed. I invite the viewer to contemplate presence in the fluidity of time. Titles come to my after the work is finished. This painting has a subtle, not overt bodily-like flow to it, with color inspired by nature. As if the body is moving in nature. This is my inspiration. My work is embedded in my experience, which is sublimated and appears through the process of painting and drawing. In my work I circle through a space that is intellectual and physical and relates the natural world. Through the process of making my work I explore a connection between the mind, body and natural world.”

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Untitled, (DS/6X19) by Maureen McQuillan (2015)

Medium: Ink and acrylic polymers on museum board

“My simple process of drawing lines and adding pure (unmixed) color in seemingly random order, results in unrepeatable patterns and combinations. The result is a surface of layered depth where geometry and gesture, structure and dissolution, order and chance all play out in interesting ways. The surface of the work is built up over time, and color shifts unexpectedly. I created my own system of color investigation about five years ago, in a way that reflects my interest in how color is perceived in both natural and technological situations. As an artist, I don’t believe you have to sacrifice working by hand in order to reflect an interest in the way technology has changed the ways in which we understand the world around us. Even though I work within very narrow parameters, it has always been important to me to create work that remains open and allows for as many readings and interpretations as possible.”

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Untitled (Loops & Circles) by Francis Dosne

Medium: Silkscreen

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View this artwork as part of the 3rd floor art walk.

 

Stairway to Heaven by Kayla Mohammadi (2012)

Medium: Solar plate etching

“I think one of my favorite Paintings is Matisse’s The Red Studio. Everytime I go to MOMA in NY, I beeline to the 5th Floor and just look at this painting. The way he deals with space - flattening the space by using red oxide color throughout the entire painting. And yet, it reads as a room. It’s the other elements of painting that make work. The angles placed by the other objects and the colors. The colors are so wonderful - pinks, greens, ochres. You feel joy when looking at this painting When I think I have figured out Matisse, I see something surprising in his work.”

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Seeking the Sound of Cobalt Blue_Bauhaus by Ellen Hackl Fagan (2015)

Medium: Mixed media on paper

“This work of art is a sketch where I was creating a sculptural form from a painting and some trimmed parts of other paintings. The work is a part of a large series of paintings that include floor painting that I have been creating since 2014. The saturated blue color is one that speaks to me due to its density and matte finish. I like live music. I enjoy seeing the creative collaboration and cues that musicians share with one another on stage. There are two artworks that I visit often; one is Georges Seurat’s La Grande Jatte at the Art Institute in Chicago, IL. and the other is Richard Serra’s large sculpture, Schunnemunk Fork, at Storm King Art Center, in Mountainville, NY.”

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Long Island Shore Scene Sag Harbor by Catherine Freudenberg (2015)

Medium: Monoprint

“I have been making art - primarily watercolors - my whole life, and was an art therapist early in my career at the Albert Einstein School of Medicine. When I reached my late 60s, I realized that my true interest was in making my own fine art. I began printmaking in early adolescence with my father who was a fine arts professor who specialized in printmaking and rediscovered this medium a decade ago. My most gratifying experience has been teaching children in various countries who hadn’t had prior art experience. For example, I worked with Bosnian refugee children in Berlin, and am now working on “Vision Quilt” to combat violence in inner city schools throughout the United States. All my work has to do with nature and my main motivation is protecting nature and sharing the wonders of the natural world with children and adults alike.”

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Wander by Glenn Fischer (2014)

Medium: Collage on panel

“The interaction between color, text and image all play an important role in this piece of work. Each relates to the other in a way that offers additional insight, balance and meaning The title “Wander” is a reference not only to the text within the piece, but to the belief that exploration happens in many ways… through communication with others, the intrigue of wanting to know more and sometimes hidden messages throughout our daily lives. Exploring possibilities with color and form is customarily the starting point for my collage work. . When I need some inspiration I usually spend time in my studio “not working” on my art. I consider my studio to be a sacred space for creating, but the energy there is also very conductive for meditation, reflection and inspiration. I have a favorite chair that I sit in and will revisit books on others artists that I admire like Fred Otnes, Jackson Pollock or review an art periodical like Art In America. I’m also inspired recently by quilting patterns and have collected several books on the craft that I enjoy reading.”

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Seance by Ademola Olugebefola 

Medium: Print

“A seance to me, is a magical thought that might be invoked by many things such as ray of sunlight, a spring breeze, a fragrance, a shadow or sound et al that reminds us of a special moment in past time or a imagined scenario or recollection. The work is a visual equation that opens the portals of imagination. For me, art practice is an eternal quest and challenge to discover visual formulas to uplift humanity, bring ‘light’ and promote peace and understanding. Count your Blessings every day you wake up. Enjoy the breath you have in this dimension and physical reality. since there are no witnesses from ‘the other side.’”

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Rapidly Rising Moon by Sally Gil (2014)

Medium: Collage and paint on paper

“Making one of my pictures inches along with little steps. At any moment I might be asking myself, What will happen if I put this tiny scrap of green paper (for example) here? What will this line look like if I do this, and depending on the result, I get another idea about what to do. Painting is a visual language so in a way I am trying with pictures what one does with words and sounds. So I am putting things (lines and pictures) together and trying new arrangements, and from what happens, comes more decisions and searches. The questions concern cause and effect, if I do this, then what will happen? Outside, looking at everything, at architecture and nature and art and sidewalks, books and art and people interacting. I get inspiration from dreams and meditation, and from the work I have done already. I always visit the Rembrandts at the Met, I love the facial expressions and the light in them. They are magical. I love to see the Cezannes there as well, I find them interestingly constructed, they make visual sense and it seems to me he was trying to be very truthful about what he saw.”

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Matisse’s Window by Kayla Mohammadi (2012)

Medium: Solar plate etching

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Velvet Shadows by Jackie Battenfield (2015)

Medium: Acrylic on mylar panel

“This series of paintings evoke happy childhood experiences. To escape from my large raucous family, I would grab a book and take off for the woods and fields surrounding my neighborhood. Sitting in the cool shadows with my back against a tree, I’d get lost reading a novel, frequently looking up through the sheltering canopy above. I’d study the intricate shapes of the leaves and branches, and the designs created by the play of sunlight through the boughs. My painting process is like that early meditation. The images come from my photographs I’ve taken, which I painstakingly draw onto the painting surface. Taking care to stay true to the original image, I pay close attention to each leaf or branch as I draw it. My paint colors are thinned to an ink-like consistency so my brush creates pools of paint for each leaf and branch. As the liquid paint dries, unexpected, and distinctive abstract patterns form. It’s a slow process which allows me to intimately observe and rejoice in each natural form.”

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Earth by Sylvia Schwartz (2014)

Medium: Aquaresin

“I love color; a made structure that seems to compete between being a painting and a sculpture. In that unknown space what remains is a see- saw of opposites; light-heavy, interior-exterior, planned-accidental, order-chaos, leading ultimately to a sense of life. Paper is an exciting medium for me allowing me to sculpt, draw and paint simultaneously. I start with the liquid pulp, layering sheets into molds. I add handfuls of pigmented pulp so that the color becomes part of the structure. The flow of the pulp (a natural phenomenon in itself) meshes with the forms to join the natural and human elements. I feel like a conductor helping the pulp diverge and converge under the constraints provided by the mold. When the molds are removed from the sheets, they leave evidence of form, time, transformation, rebirth and decay”

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Untitled #A0628 by Waddy Armstrong (2015)

Medium: Archival pigment print

“To create his images, the artist uses a technique he calls “hybridizing” in which visual elements from various plants and trees coalesce in seamless, harmonious compositions ranging from gestural abstractions to silhouettes of the imagined. Beauty, pleasure and composition are all key components as the act of mark-making morphs into recognizable—albeit fictional—form. I often find inspiration in various places. Sometimes it strikes while researching topics online, or while hiking through a forest in the Catskills, or stumbling blearily through the house to go comfort my daughter and I notice the shadows cast by the trees on a moonlit night, or simply while laughing and talking with good friends. Part of being an artist is being present, aware, and staying open. Years ago I read a book about the artist Alberto Giacometti and how, as an old man upon exiting the studio to get lunch with friends he stopped the group to point with childlike surprise at the beauty of the clouds in the sky. I like that.”

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Portrait of Josie Robertson by Ray Kinstler

“The Josie Robertson Surgery Center was established with a gift from the Robertson Foundation, founded in 1996 by the late Josephine (Josie) Robertson and her husband Julian H. Robertson, Jr., and their family. A devoted mother and grandmother, as well as a treasured friend, Josie was celebrated for her radiance, artistic talent, creativity, and graciousness. Josie Robertson was an ardent philanthropist and member of Memorial Sloan Kettering’s Board of Overseers. The Josie Robertson Surgery Center, with its unique art collection, thoughtful design, and commitment to providing highly compassionate care, serves as an enduring tribute to her generosity of spirit and concern for the well-being of others.”

View Ray Kinstler’s website

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