| The New York Optimist November 2008 |
| Chelsea Art Crawl October 23rd, 2008 by Stephan Fowlkes For a while now I have been largely addressing the aesthetics of beauty in contemporary art: its relevance, function and validity within the context of current trends in the present market. And though I maintain that beauty is still a necessary component in the scrutiny of contemporary work, I feel “beauty” may need to be re- defined and re-contextualized, though I believe it has already been though more in a fringe sort of way. For example, as haunting and disturbing as many of Francis Bacon’s paintings are, they still still maintain a certain aesthetic allure, a dark beauty one cannot deny. This can also be applied to de Kooning’s “Women.” And it is in this vein that I came to appreciate the disturbing beauty of Shimon Okshteyn’s work at the Stefan Stux Gallery. The presentation of the work is beautiful; the subject-matter deeply disturbing, though insightful, honest and relevant, mirroring certain aspects of contemporary society--the darker side. These hyper-realist paintings, sculptures and installations reflect and focus on the “vices of contemporary culture....Painted directly onto the surfaces of highly reflective mirrors, viewers are forcefully inserted into the artist’s dialogues with Heroin (2008), Cocaine (2008), Extacy (2008), and Pills (2008), where they are encouraged to question the commonly held belief that pleasure and happiness are just one pill away.” With sections of the mirror left unpainted, the viewers see their own reflection in the work, inducing an intimacy and immediacy with the subject-matter. One may be tempted or repulsed by contemporary drug culture, but it is impossible to ignore the fact that it is an unfortunate and unavoidable element in the definition of our present society. Okshteyn’s work does not praise or condemn; instead, he presents this reality with an objective lens, merely stating the facts. His cast marble sculptures are self-portraits reminiscent of George Segal’ s figures, though with a far more humble and tortured quality, either the victim of his subject-matter, or expressing the futility of changing this reality. Veritably, beauty can be found even in the darkest recesses of our culture; it all depends on our perspective. Dangerous Pleasures: New Paintings and Sculpture Shimon Okshteyn at Stux Gallery 530 W. 25th Street October 23-December 6, 2008 |
But fear not. To balance out the weight of the social commentary in Oshteyn’s work we found ourselves at the Betty Cuningham Gallery, faced with one of Mia
Westerlund Roosen’s monumental concrete sculptures, and several smaller wall works and drawings. Roosen’s work over the past 30 years has largely
concerned itself with the sensual side of sculpture. Leave your intellect and social scrutiny at the door and enter into the sublime. For years, Roosen’s work has
been predominantly constructed out of concrete: but here we find a twist; she has added the element of water in the form of a cascade descending the spiral of
Mettawee (2007), her monumental centerpiece. The viewer is encouraged to enter into the piece, which standing ten feet tall, envelops the viewer and completely
removes the gallery setting, replacing it with the sound of running water. In the center is a structural element serving as a bench, allowing the viewer to
experience the atmosphere in peace, meditating on the natural sound of running water. The passage to the center is narrow enough to only let one person pass at
a time, making the experience all the more intimate. Belying the massive stature of the object is the sensuality of the form, bringing to mind the spiral of the
Golden Ratio, found everywhere in nature. Although fabricated from an industrial material, the patination of the surface and irregularity of form removes it from
any immediate association with the masonic trade. Roosen’s delicacy of touch reminds me more of ancient adobe ruins than of the brick and concrete structures
surrounding us in this city. Her work transports us to a realm far from the Chelsea scene, as the title of the work reflects: Mettawee and its sister piece
Battenkill currently in Thomas Paine Park are both named after rivers upstate and in Vermont. Roosen’s approach to her work is largely intuitive, often
investigating the boundaries of her material, sometimes in interaction with natural surroundings, as her work is often exhibited outdoors, integrated with the
landscape. This organic aesthetic lends itself particularly well when juxtaposed with the pristine surroundings of a gallery setting. Instead of taking time to stop
and smell the flowers, I encourage you to take a load off, sit and reflect, as the cascading water surrounds you.
Mia Westerlund Roosen at:
Betty Cuningham Gallery
541 W. 25th Street
October 17-December 6, 2008
Westerlund Roosen’s monumental concrete sculptures, and several smaller wall works and drawings. Roosen’s work over the past 30 years has largely
concerned itself with the sensual side of sculpture. Leave your intellect and social scrutiny at the door and enter into the sublime. For years, Roosen’s work has
been predominantly constructed out of concrete: but here we find a twist; she has added the element of water in the form of a cascade descending the spiral of
Mettawee (2007), her monumental centerpiece. The viewer is encouraged to enter into the piece, which standing ten feet tall, envelops the viewer and completely
removes the gallery setting, replacing it with the sound of running water. In the center is a structural element serving as a bench, allowing the viewer to
experience the atmosphere in peace, meditating on the natural sound of running water. The passage to the center is narrow enough to only let one person pass at
a time, making the experience all the more intimate. Belying the massive stature of the object is the sensuality of the form, bringing to mind the spiral of the
Golden Ratio, found everywhere in nature. Although fabricated from an industrial material, the patination of the surface and irregularity of form removes it from
any immediate association with the masonic trade. Roosen’s delicacy of touch reminds me more of ancient adobe ruins than of the brick and concrete structures
surrounding us in this city. Her work transports us to a realm far from the Chelsea scene, as the title of the work reflects: Mettawee and its sister piece
Battenkill currently in Thomas Paine Park are both named after rivers upstate and in Vermont. Roosen’s approach to her work is largely intuitive, often
investigating the boundaries of her material, sometimes in interaction with natural surroundings, as her work is often exhibited outdoors, integrated with the
landscape. This organic aesthetic lends itself particularly well when juxtaposed with the pristine surroundings of a gallery setting. Instead of taking time to stop
and smell the flowers, I encourage you to take a load off, sit and reflect, as the cascading water surrounds you.
Mia Westerlund Roosen at:
Betty Cuningham Gallery
541 W. 25th Street
October 17-December 6, 2008
And stay tuned: next week’s article will be a focus on
photography in Chelsea. Smile!
photography in Chelsea. Smile!
 |  |  |  |  |  |  |  |  |  |  |  |