"My work is based on specific scenes and impressions related to movies from the 1930s and 1940s. I use film characters and period settings as a point of departure and then reinterpret. Contemporary faces are added but without altering the spirit of a cinematic moment. In blending past and present images I try to create a sense of dejà vu or nostalgia without the sentimentality often associated with specific film stars. I am interested in individual personalities and in using crowded scenes of choreographed women.
Images as social icons and attention to individual incident interest me. Depicting physical clumsiness alters the perception of each performer's physiognomy and brings it more to the 'real'. Gender is important, yet gesture and establishing a dramatic moment are paramount. A movie is never totally forgotten. Memories from films can be channels, metaphor and private reverie through which an artist can address the human condition. "
" My story with Isabel Bishop is that we became friendly after she visited my show at the Alex Rosenberg gallery in l982 which she liked very much, and then invited me up to her studio. For some reason she like me very much personally and I became a kind of confidant to her until she became very sick, and spent most of her time in Riverdale. I admired her dedication and perseverance. In spite of family problems and ill health she worked as much as possible. (My hero is Giacometti whose life was work.)"
Ann's work is in the permanent collections include: The Metropolitan Museum of Art, Yale University Art Gallery, Art in Embassies Collection of the U.S.A., Davison Art Center at Wesleyan University, Elvehjem Museum of Art in Madison, Wisconsin, The National Museum of Women in the Arts, The New York Public Library Print Collection, Syracuse University Art Collection, Housatonic Museum of Art in Connecticut, U.S.O. of Greater Metropolitan New York, Utah Museum of Fine Arts, Zimmerli Museum at Rutgers University, Reading Public Museum in Pennsylvania, Portland Museum of Art in Oregon, Arkansas State University, Duxbury Museum in Massachussetts, The Aldrich Museum of Contemporary Art in Connecticut,Museum of the City of New York, and the Art Collection of the United Nations.
Forthcoming exhibitions in 2006 at the Upton Gallery in Buffalo, New York; the Alb Merola Gallery in Provincetown, MA; the PMW Gallery in Stamford, CT.
Reference is made to the new catalogue raisonné of Ann's work published by the Amity Art Foundation: Ann Chernow Prints. 1968-2000.
All prints are signed in pencil.
Click on the images for larger screens.
A Day in the Country. 1996. Intaglio. Amity 150. 15 7/8 x 20 5/8. Edition 50 with 5 artist's proofs. Printed on Velouwe. $500.
"And Then I Showed Him my Etchings." (Ann Chernow, right, and Jane Allinson, left, looking at prints in Jane's booth on opening night at the Print Fair.) 1998. Transfer etching. Amity 161. Commission for the New York Fine Print Fair by Allinson Gallery, Inc. Edition 6 artist's proofs. Printed on Arches. $350.
April Showers. 2000. Etching and aquatint. Chernow 171. 11 3/4 x 9 7/8. Edition 15 with three artist's proofs. A fine impression printed in blue on Rives BFK, on the full sheet with deckle edges. $500.
"As I was Say'n' to the Duchess." 1994. Etching and aquatint. Amity 130. 14 5/8 x 7 7/8. Edition 25 with 5 artist's proofs. Printed on Rives BFK. Prize: 10th Annual National Print Exhibition, Florida Printmakers Society. Exhibited at the 1998 World Print Festival in Slovenia. Signed in pencil. Framed $1,000; unframed $900.
Avalon. 1994. Etching and aquatint.Amity 143. 18 7/8 x 17 3/4. Series: Fables. Edition 15 plus 5 artist's proofs. Printed on Grammercy. Signed in pencil. $600.
"Do Nothing Till You Hear from Me." 1995. Etching and aquatint. Amity 147. 14 3/4 x 8 7/8. Edition 25, with 8 artist's proofs. Exhibited at the 1998 World Print Festival in Slovenia. Printed on Rives BFK. $600.
Down Among the Sheltering Palms. 1995. Etching and aquatint. Amity 149. 17 5/8 x 9 7/8. Edition 20 with 5 artist's proofs. Printed on Arches. $500.
Dreams. 2000. Etching and aquatint. Chernow 175. 10 3/4 x 13 1/4. Edition 15 with three artist's proofs. A fine impression printed in blue on Copperplate Deluxe paper. $600.
"It Could Only Happen in Brooklyn." 1999. Etching and aquatint. Amity 164. 15 1/4 x 9 7/8 .Edition 20. Printed on Arches. $600.
The Heart is Quicker than the Eye. 1980. Lithograph. Amity 20. 18 x 24. Edition 50 with 5 artist's proofs. Printed on Arches. Signed in pencil. $500.
Let's Dance. 1994. Etching and aquatint. Amity 143. 9 11/16 x 15 3/4. Series: Fables. Edition of 15 plus artist's proofs. Printed on Grammercy. $500
Melody Lane. 1996. Intaglio. Amity 154. 15 5/8 x 20 1/4. Edition 50 with 5 artist's proofs. Printed on Velouwe. $500.
Music, Music, Music 1985. Lithograph. Amity 27. 22 x 30. Edition 43 with 5 artist's proofs. Printed on Arches. $600.
A Small Cafe. 2000. Etching and aquatint. Chernow 176. 9 3/4 x 13. Edition 15, with 3 artist's proofs. Printed on Copperplate Deluxe. A pristine impression with full margins. Signed in pencil. $600.
Small Town Girl. 2002. Etching and aquatint. 9 3/4 x 7 7/8. Signed in pencil. $600.
Sutton Place. 2002. Etching and aquatint. 6 7/8 x 9 3/4. Edition 12. A pristine impression on the full sheet. Signed in pencil. $600.
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