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M. Kelley's Upcoming Exhibitions

Margaret Kelley: The Embrace I, 2007-2012, Ink, Oil, Sand, Collage on Canvas Box, 120x230x4cm closed, 120 x310cm opened

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The Embrace I, 2007-2012,
Ink, Oil, Sand, Collage on Canvas Box, 120x230x4cm closed, 120 x310cm opened






February 7 -
June 14, 2015

Kunststiftung Friedrich Netzel
Bergstrasse 17
27726 Worpswede
Germany

www.worpsweder-kunsthalle.de
info@worpsweder-kunsthalle.de
Phone: -49 7292-1277 

Margaret Kelley: Ausstellung

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Ausstellung "A Shade of Pale" in der Worpsweder Kunststiftung Friedrich Netzel, Worpsweder Museumsverbund










Margaret Kelley: Like a Girl Again, 2006, Collage, Ink, Oil, Canvasbox, 150x100cm

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Like a Girl Again, 2006,
Collage, Ink, Oil, Canvasbox, 150x100cm






May 9 -
June 11, 2015

Galerie Julia Dorsch
Breite Strasse 20
14199 Berlin
Germany

www.galerie-dorsch.de
info@galerie-dorsch.de
Phone: 049+ 30-84707903




Margaret Kelley: The Meadow III, 2013, Oil, Ink, Collage on Canvas Box, 40x40x4closed, 40x80x4cm opened

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The Meadow III, 2013, Oil, Ink, Collage on Canvas Box, 40x40x4closed, 40x80x4cm opened






Postponed


Kunstverein Die Wassermühle Lohne e.V.
Marktstraße 2
Lohne (Oldenburg)
Germany

Phone: +49 44 42 - 7 21 88



Margaret Kelley: Die Verwandlung, 2000, Oil, Crayon + Collage on Woodbox, 114x160x6cm

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Die Verwandlung, 2000,
Oil, Crayon + Collage on Woodbox,
114x160x6cm



Postponed


Golkar art-projects
Rossplatz 10
04103 Leipzig

open by appointment only

Phone:
+49 341 71003870
and +49 171 2350451

info@golkar-artprojects.de




An American in Northern Germany

Margaret Kelley: The Meadow and the Circle, 2006, 
Collage, Ink, Oil, Canvasbox, 150x100cm

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The Meadow and the Circle, 2006,
Collage, Ink, Oil, Canvasbox, 150x100cm
An American in northern Germany: about experiences across borders and cultures; the language of color, sensations and truth; the direction and development of life; existence and and how it could be; about the burden and the void.

Margaret Kelley is an important painter of northern Germany. For over twenty years she has lived and worked in Worpswede and Bremen. In this period of time she has created a spectacular body of work in which her individualistic color-field painting and personal language of marks forge the immediacy of the USA's Abstract Expressionism with the emotional depth of Europe's Art Informel.

Margaret Kelley grew up in a doctor's family of six children in Los Angeles, California. Life appeared well-ordered and the American belief in self-determination seemed confirmed. Not however for M. Kelley: she distrusted all outward appearances and searched for another reality than the so-called real one--a reality which would cast the question about truth for the first time. How could word and picture be true in consideration of all that which exists and perpetually changes? And can truth be grasped pictorially at all? These questions marked the course of her development and laid the groundwork for her artistic purpose.

In the year 1979 she received a Rotary Graduate Fellowship, a privately funded academic grant. Through this she came to Germany in order to continue her studies of art, which she had begun in California, at the Academy of Fine Arts in Munich. She returned to the USA in 1985 to fulfill the requirements for a Master of Fine Art at the California University at Long Beach under the direction of John Lincoln, an artist renown for his mastery of line.

Margaret Kelley returned to Los Angeles in 1987 to work for months on a monumental commission. The 240 foot painting describes a journey (Out of the Shadow into the Light of L.A.) as a continous controversy in a shadowland with grey contours. This grew into a dialogue between the past and the present, free-will and predetermination and also between German and American mentalities and their realities.

In 1991 Margaret Kelley returned to Germany and accepted a grant as an artist-in-residence in Worpswede. A new chapter began: in the isolation of her studio with the view of the dismal moorland she conjured this leap as a leap of faith. The situation of a life which has no reference to a constant truth is extremely precarious. The movement between highs and lows, between crises and harmony has turned Margaret Kelley into a painter who invests herself totally. Her work is without incompleteness, without a single concession.

Dr. Jürgen Fitschen



 
 
Margaret Kelley
info@margaret-kelley.de  |  Impressum