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Hudson Women in the Arts

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Back row: Sage Carter, Hudson Hall Claudia Bruce, Time and Space Limited Linda Mussmann, Time and Space Limited Lena Peterson, Carrie Haddad Gallery Ellen D’Arcy Simpson, D’Arcy Simpson Art Works Karen Davis, Davis Orton Gallery Pamela Salisbury, Pamela Salisbury Gallery Elizabeth Moore, Elizabeth Moore Fine Art Tanja Grunert, Tanja Grunert Gallery Allison Young, Basilica Middle row: Susan Eley, Susan Eley Fine Art Linden Scheff, Carrie Haddad Gallery Haleh Arabeigi, New Gallery Jane Ehrlich, Open Studio Hudson Joan Damiani, J Damiani Gallery Front row: Tambra Dillon, Hudson Hall Carrie Haddad; Carrie Haddad Gallery


Photo: David McIntyre


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Artists of the Mohawk Hudson Region Exhibition


For the first time in its 85-year history, the Mohawk-Hudson Regional exhibition will be presented at three locations simultaneously: Albany Center Gallery, Albany International Airport Gallery and Opalka Gallery at Russell Sage College. While for decades, the exhibition has rotated among the Albany Institute of History & Art, The Hyde Collection Art Museum in Glens Falls, and The University Art Museum, University at Albany, this year’s reimagined version reflects the spirit of creative innovation that distinguishes our regional arts community. The exhibition call was open to all visual artists residing within a 100-mile radius of Albany, NY and Glens Falls, NY.

September 19, 2020–January 3, 2021

2020 Acrylic and Flashe on canvas.  21” x 40 “

Three Abstract Artists with new work by
Jane Ehrlich, Margaret Fitzgerald
and A'Driane Nieves 

March 18 – April 29, 2021 


Susan Eley Fine Art is pleased to announce Three Abstract Artists, a group exhibition featuring abstract paintings by Jane Ehrlich, Margaret Fitzgerald and A’Driane Nieves. The show opens March 18, 2021 in our Upper West Side gallery and features over two dozen acrylic, oil and mixed media paintings on canvas in a range of sizes.

In contrast to the work of Nieves and Fitzgerald, Jane Ehrlich’s paintings are quieter and more subdued. Starting with a single ground color on canvas, Ehrlich begins the slow process of building up thin layers of white in straight, zigzag and curvilinear lines. Sometimes the paint is applied thickly and other times it is more fluid, resulting in past decisions remaining visible underneath more recent strokes. This method of applying paint informs the viewer of its history and process. The white acrylic brushstrokes in ORwW (2020) weave through each other on top of a bright orange background. They snake across the canvas, following paths of planned randomness. Jane notes that “light is elemental to [her] work. As the series continues, the gestures become more simplified, more minimal, the way I like to live.” When reflecting on her overall approach, Ehrlich says “I search for a space within my paintings that I can coexist with. I want to be in my space and let the painting live in its own space. I don’t want to be overwhelmed. I want to look at the painting and let it evolve, and slowly discover its nuances.” Ehrlich lives and works in Hudson, NY.

To find out about the exhibition visit



November 9, 2020 - December 4, 2020

Window On Hudson is thrilled to announce its November artist, ​Jane Ehrlich: “LightShift,”  November 6th - November 30th, 2020.​  “LightShift,” a series of nonreferential light-filled paintings  are “...composed of straight, white, zig zag, and curvilinear layers of transparencies that interact  with the ground color.  At times the paint is loose and fluid creating tonal variations as well as a  thick opaque impasto.  The layering creates a strong presence of light with monochromatic  variations that suggest an active and atmospheric environment.   At times figure ground  dichotomies that present themselves as a single shape dominate the painting.” 

These works have allowed her to play with color, light and gesture that evolve from a single  color.  By mixing phosphorescent pigments with her acrylics Ehrlich gives us the opportunity to  see these works on canvas transform.   A painting can be viewed under normal light, but when it  is exposed to UV-A light a new spectrum of colors is exposed, presenting us with an alternate and  enhanced work.  This 'second state' was something Ehrlich discovered as the series developed  and her experimentation continued.   

When asked about the work, Jane says, “Most often the layering is integrated into the  ground color even when there is a defined shape.  As the series continues, the gestures become  more simplified, more minimal, the way I like to live."  When reflecting on her overall approach,  Ehrlich says “I search for a space within my paintings that I can coexist with.  I want to be in my  space and let the painting live in its own space.  I don’t want to be overwhelmed.  I want to look at  the painting and let it evolve, and slowly discover it’s nuances.  I wake often in the morning and  have a sense of “I need ORANGE.”  It is not only orange but a specific orange that I see and feel —  It is a need not a want, almost like food.  I let my mind and body tell me what I need.  When that  becomes clear, I enter my studio.” 


36th Annual National Juried Contemporary Art Exhibition
Oct 10 - Nov 14, 2020

55 Noxon Street Poughkeepsie, NY 12601


State 1


State 2

Jane Ehrlich's Artist Statement

Jane Ehrlich’s painting function in “2 states” one is seen in normal lighting and the other (2nd) is under fluoresced (black) lighting that activates the fluorescent paint. These states can be turned on or off. Each state has its own characteristics that inform each other.

Ehrlich interestingly only paints under normal light. Once finished she looks to be informed by the fluoresced light which has additional information something akin to an X-ray. In this state she discovers nuances not usually seen under normal lighting conditions.

Each painting in this series contain 3 elements:

1.The flat colored acrylic background.

2. White gestural paint creating interstices and interaction with the ground creating differences in tonality and sparks of light.

3. The ability to view the painting in 2 individual states. One normal light and the other black light that allows a fluoresced state.

To find out about the exhibition visit



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Working with extremes, stark contrasts and atypical materials, Jane Ehrlich paints canvases that show movement as well as rigidity. A painting, for her, is all about the negotiation of complex elements. She creates a controlled flow suspended in time. Her white paint is derived from Gofun, a pigment of aged, pulverized oyster shells traditionally used in Japanese painting. It is then binded with glue to affix to the support medium. Ehrlich studied at the School of Visual Arts in Manhattan, Pratt Institute in Brooklyn and The Brooklyn Museum School. She has exhibited nationally and spends her time in Hudson, NY and West Palm Beach, FL

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