| The New York Optimist July 2008, Vol. 01: Issue 01 |
| July 3rd Chelsea Gallery Art Crawl By Stephan Fowlkes |
It is clear that the galleries this week were wise enough to recognize the fact
that just about the entire population of Manhattan was taking off for the
Hampton's for the weekend of the Fourth right after work on Thursday. As a
result, Chelsea was like a ghost town, tumbleweeds and all. We were only able
to find two openings to attend, making my job remarkably easy this week.
However, before getting to the openings, I happened upon some striking
paintings by Stan Gregory at the Sundaram Tagore Gallery. The austere,
sensual, graphic nature of his abstractions draw the viewer in, encouraging the
attempt to identify familiar forms—unsuccessfully. His lines and shapes hint
both at anthropomorphic Matisse-like forms as well as some sort of alien
calligraphy, a private visual language, enticing the viewer to wander through the
mazes of Gregory’s imagination and formal impulses.
that just about the entire population of Manhattan was taking off for the
Hampton's for the weekend of the Fourth right after work on Thursday. As a
result, Chelsea was like a ghost town, tumbleweeds and all. We were only able
to find two openings to attend, making my job remarkably easy this week.
However, before getting to the openings, I happened upon some striking
paintings by Stan Gregory at the Sundaram Tagore Gallery. The austere,
sensual, graphic nature of his abstractions draw the viewer in, encouraging the
attempt to identify familiar forms—unsuccessfully. His lines and shapes hint
both at anthropomorphic Matisse-like forms as well as some sort of alien
calligraphy, a private visual language, enticing the viewer to wander through the
mazes of Gregory’s imagination and formal impulses.
| “Shift In A Minor Key Celebrates the Interconnectedness of the World” Stan Gregory at Sundaram Tagore Gallery 547 W. 27th Street Through July 19, 2008 (so hurry by!) |
Top: Early Out,2007, oil on acrylic paper, 22 x 22
Far Left: Hot Rise, 2007, oil on canvas, 72 x 72
Left: Anchor Wed, 2006, graphic and acrylic on paper 22 x 22
Far Left: Hot Rise, 2007, oil on canvas, 72 x 72
Left: Anchor Wed, 2006, graphic and acrylic on paper 22 x 22
Our first opening was a group show of photography broad enough in its diversity so
as to present something for any taste…portraiture, landscape, abstraction. Two
works in particular stood out for me: one was Joachim Schulz’s “Cineplex
Paderborn, Blau,” a large photograph of a massive curtain on some stage, lit and
cropped effectively so as to almost enter into pure abstraction of form and light. The
other work is by Cara Barer, “Homage to Chamberlain,” a black-and-white
photograph of manipulated (possibly discarded) newspapers or phonebooks. Here is
an example of how garbage can actually and effectively enter into the realm of art
Barer creates sculptures of sorts which serve as her subjects. Her forms reside in
the void of a black background letting them float in space, and the grace of the forms
she creates remind me of some images I’ve come across of the Alvin Ailey dancers
in mid-leap.
as to present something for any taste…portraiture, landscape, abstraction. Two
works in particular stood out for me: one was Joachim Schulz’s “Cineplex
Paderborn, Blau,” a large photograph of a massive curtain on some stage, lit and
cropped effectively so as to almost enter into pure abstraction of form and light. The
other work is by Cara Barer, “Homage to Chamberlain,” a black-and-white
photograph of manipulated (possibly discarded) newspapers or phonebooks. Here is
an example of how garbage can actually and effectively enter into the realm of art
Barer creates sculptures of sorts which serve as her subjects. Her forms reside in
the void of a black background letting them float in space, and the grace of the forms
she creates remind me of some images I’ve come across of the Alvin Ailey dancers
in mid-leap.
| “Discover” Galerie Poller, 547 W. 27th Street, 2nd Floor Through August 16, 2008 |
Our next and final gallery stop was another group show of four young artists: three painters and one video artist. Although “young,” these artists
definitely show promise and potential, Daphne Arthur and Jason Ledet both approach atmospheric environments and abstracted landscapes through
the use of paint and found or manipulated objects.
In Ledet’s “Sorry We’re Closed,” the familiar sign which is integrated into the painting gives the work a certain Rauschenbergian sensibility,
reminding me of his prints with pop-ish images and the bleeds of the inks. However, the most effective works in the show, in my opinion, were
Juliana Romano’s intimately scaled portraits.
My favorite, “Darkness Replaces You” hit home, and if it wasn’t already sold I very well may have walked away with it. This may not help you
too much, as all of her works share the same title. Romano manages to coax her oils in a manner to capture a poignant mood, and her light-play is
remarkably effective in creating a tension between subject and atmosphere. There is a luminosity which is only challenged by the dark,
psychological mood the figures impose upon the viewer.
definitely show promise and potential, Daphne Arthur and Jason Ledet both approach atmospheric environments and abstracted landscapes through
the use of paint and found or manipulated objects.
In Ledet’s “Sorry We’re Closed,” the familiar sign which is integrated into the painting gives the work a certain Rauschenbergian sensibility,
reminding me of his prints with pop-ish images and the bleeds of the inks. However, the most effective works in the show, in my opinion, were
Juliana Romano’s intimately scaled portraits.
My favorite, “Darkness Replaces You” hit home, and if it wasn’t already sold I very well may have walked away with it. This may not help you
too much, as all of her works share the same title. Romano manages to coax her oils in a manner to capture a poignant mood, and her light-play is
remarkably effective in creating a tension between subject and atmosphere. There is a luminosity which is only challenged by the dark,
psychological mood the figures impose upon the viewer.
“Will Happiness Find Me?”
Marvelli Gallery
526 W. 26th Street, 2nd Floor
Through August 8, 2008
Marvelli Gallery
526 W. 26th Street, 2nd Floor
Through August 8, 2008
| “Darkness Replaces You” |
Daphne Arthur
Farming Bones
Farming Bones
Jason Ledet
Donkey Party
Donkey Party
But wait! There’s more good news…the Lightship
Frying Pan has reopened on Pier 66 in the Chelsea
Waterside Park! A perfect place for post-art crawl
libations and snacks en plein aire, under the stars, the
Hudson flowing past your feet. What could be better
than that?!? Please stay tuned for a full review of the
Frying Pan coming shortly!
Frying Pan has reopened on Pier 66 in the Chelsea
Waterside Park! A perfect place for post-art crawl
libations and snacks en plein aire, under the stars, the
Hudson flowing past your feet. What could be better
than that?!? Please stay tuned for a full review of the
Frying Pan coming shortly!
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