"Indian Summer" in New York City

Well, it was going to be a summer show, but a splendid tribute to the late Babe Shapiro stayed up through August, so time and title shifted to the Indian Summer Show. It certainly felt like a summer show, though: 84 degrees and tropically humid when we gathered in the early evening at the East 29th Street gallery, just off Park Avenue South. 

Visible here, 12 of the 24 artists in the show 

I'm one of 24 artists in the exhibition, so this is not a review, not even a report, simply an annotated walk-through to show you some great work assembled under the exquisite curatorial eye of Doris Mukabaa Marksohn at dm contemporary.

Entering the gallery: Marietta Hoferer, P1, left, and Ruth Hiller, Rig and Bone

Opposite Hiller: Fated-2 by Louise P. Sloane and a peek into the galleries

Panorama of the front gallery. From left: Linda Cummings, Matthew Langley, Duncan Johnson, Cheryl Yun
Click pic to enlarge

Linda Cummings, Mentum I

Matthew Langley, Indian Summer

Duncan Johnson, Rain Dam 

Between the galleries: At farthest left you can just glimpse Hiller's losenge-shaped paintings, plus Cummings, Langley, Johnson. At right, the installation in the second gallery
(Both galleries are faced with a huge wall of glass, so my iPhone camera is duking it out between daylight and the gallery lighting)

The second gallery, with Carole Freyz Gutierrez, Edward Fausty, Macyn Bolt, Steven Baris, Richard Bottwin 

Carole Freyz Gutierrez, Orbs 1 & 2

Edward Fausty digital pigment photographs

Foreground: Zoe Keramea sculpture; Steven Baris painting behind it,  Indra's Circle 2, and Bottwin sculpture

Barris's video installation, Regardless of Topography

Macyn Bolt, Skipstep (cc), top, and Skipstep (ab); Bottwin, Joanne Mattera

Richard Bottwin, Scrim #1

Joanne Mattera, Silk Road, installation of nine paintings

Stepping back, this panorama includes Dennis Beach, far left, and a tiny corner of Michael Kukla's sculpture, which is shown below

Above and below: Two views of Kukla's carved marble, Untitled (for Zaha)

Dennis Beach, Wedge #3

Beach on the terrace, between his wall sculpture and the Freyz Gutierrez painting

Dennis Beach, Squeeze

The entrance to the gallery is just to the right of Ruth Hiller's paintings, but we're proceeding to the small back gallery. Martin Mullin's painting is ahead

Martin Mullin, Golden Book (Untitled), with Fran Gormley in the third gallery

Fran Gormley, Silent Rhythms 5

Two vertiginous paintings by Rob DeOude, Tantrum Mash-up, top, and Misty Limit  

Opposite DeOude is this wall of work. At left: two by Tomomi Omo, Vapors and Circular Skies III; center top: Willy Bo Richardson, Bathers 5; two center bottom: Elizabeth Duffy, Maximum Security: Riker's Island and Maximum Security: Florence B;  right: Youjin Moon, Reflection

Small panorama with three untitled paintings by Katsumi Suzuki at left and a glimpse of the Sloane painting that we saw when we entered the gallery

So I refrained from commenting on the show, but I will say here that I think it's a well-conceived exhibition that brings together a variety of work in relationships of color, size, and material sensibility. But don't take my word for it. See it for yourself. The Indian Summer Show will be up well into the fall, through November 5. Hours and info here.


"I Always Return to Hue"

Newbury Street view of my solo show st Arden Gallery, Boston

So my big plans for a summer of reporting from Massachusetts were cut short when I launched into overdrive to complete work for this solo show. (I did manage two posts, a comprehensive Visit to the Outer Cape and a splendid installation of pattern and light at the Peabody Essex Museum.) Now we're standing on Newbury Street in front of the display window at Arden Gallery, where my solo show, I Always Return to Hue, is up through September 30.

I've been working on the Silk Road series for over a decade. There are other series and projects, of course, but I continue to go back to these small color fields, hence the exhibition's title. The series, which I began in 2005, was inspired by the shimmery quality of iridescent silk but quickly evolved into more expansive explorations of hue and surface, translucence and texture. In plying a richness of paint against the austerity of a (very subtle) grid, I set in motion a small-scale dynamic in which more and less jostle for primacy.

In  the window, clockwise from top right: Silk Road 350, 349, 352, 351, all 2016, encaustic on panel, 18 x 18 inches
The bisected field is new

Panorama from the entrance
A few individual works below:

Silk Road 312, 2015

Silk Road 347, 2016

Silk Road 331, 2016

Silk Road 332, 2016
All encaustic on panel, 12 x 12 inches


Critical Mass: A Visit to the Outer Cape

 In this series:

Tabitha Vevers at Albert Merola Gallery, Provincetown

PROVINCETOWN-- My series, Critical Mass., continues with a trip to the far end of Cape Cod, highlighting exhibitions at Truro Center for the Arts at Castle Hill in Truro, and in Provincetown at the Albert Merola Gallery and Schoolhouse Gallery. The summer gallery season is short here so exhibitions are correspondingly truncated--two weeks in most instances, sometimes even a week. By the time you get to the Outer Cape, these shows may be down. I'll try to do them justice here.

Castle Hill
We start with a beautifully installed three-artist show, Elementary: Paintings by Sharon Butler, Sharon Horvath and Patricia Miranda, which ran July 11--22. These New York-based artists would appear to share commonalities of modest size, at least for this exhibition, and an engagement with materials.

Panorama of half the gallery: Miranda on left and right walls bracketing Horvath and Butler, Several of the works are shown in closer view below

Three by Sharon Horvath

Sharon Butler, Screenshot, 2015, oil on canvas, 16 x 20 inches

Patricia Miranda, Her time passed and they read new stories, 2016; vintage lace embedded with red clay, the artist's hair, thread
I am totally enthralled by the beauty and creepiness of this piece--the red clay coloring the fabric, the same iron, essentially, that's in our blood--the intestinal imagery embroidered on the doily, its ultimate passage leading to the long hair tail.

Detail below

Panorama of the other half of the gallery: Horvath and Butler on the left wall, Horvath and Miranda on the back wall, Butler at right

Sharon Horvath, Bluering, left, and Whiteeye, both 2016; pigment, ink polymer, paper on canvas

Sharon Butler, Cybercave, 2015, oil on canvas

Patricia Miranda, Florilegium, vintage book dyed with cochineal insect dye, bamboo skewer

Sharon Horvath, Moons, 2016; pigment, ink, polymer, paper on canvas

Detail below

Sharon Butler, Blue Alloy, 2015, oil and t-shirt scraps on canvas

Detail Below

. . . . . . . .

Two gallery artists, Irene Lipton and Tabitha Vevers, each with a longtime relationship to the Outer Cape, were featured with solo shows July 8-21 in this small but dependably rewarding gallery.

Lipton had the front gallery, showing five square paintings in her signature organic abstraction. Three paintings on one wall were pulsing thanks to a graphic, largely black and white palette, while color anchored the wall opposite the entry and to your right as you stepped into the gallery.

View from the entry: Irene Lipton, untitled (1504), 2015, oil on canvas

A wall of Lipton paintings as seen from the entry, above, and the opposite direction

untitled (1509), 2015, oil on canvas, 40 x 40 inches

Looking into the small back gallery where Tabitha Vevers' Curiosa: Once, Lately, Later was installed

Tabitha Vevers's small paintings are thrillingly beautiful, consummately painted and, often, extremely creepy. I love them, even if they sometimes make me uncomfortable.  Known for her paintings on such materials as seashells and scrimshaw, here she paints not-quite-miniatures on Mylar or ivorine, lavished with metal leaf.  Her figures are women--strong or dangerous or sexual or vulnerable--but we view them out from under the lens of a male gaze. If you're on the Cape, pick up a copy of Provincetown Arts, where Vevers is the subject of an 18-page (!) feature.

Shiva: Vortex,  2016, Shiva: Vortex, 2016, oil and gold leaf on Mylar
(This painting is visible just beyond the curtain in the image above)

View from inside the gallery, looking out

Lioness: Quieting the Night, 2010, oil paint and gold leaf on ivorine

. . . . . . . .

Schoolhouse Gallery

The steepled wooden structure at the far eastern end of Commercial Street in Provincetown is close to 200 years old. Built to house schoolchildren in grades one through four, it has seen numerous incarnations, including Community Center, American Legion post, art school, and a succession of galleries. Now, as Schoolhouse Gallery, it is under the director of Mile Carroll, himself an artist. 
There are typically several exhibitions on view at any one time. This was the case when I stopped in to see Sarah Lutz's solo, which is up in the front gallery through August 3. I have followed and admired Lutz's work for some years. Beauty is the overarching element of her work with its palette of intense pastels, subtle patterns, and organic sensibility.

The small and the large: Domino V and Sluiceway

Panning around the gallery with Sluiceway; two small paintings shown together, Night Float and Gorgonian; and Elance (Red)

Continuing the pan: Festoon on the far wall and Sea Bloom foreground 

. . . bookend the two small paintings shown below: Sidewalk VIII and Sidewalk VI

I plan to continue Critical Mass through the rest of the summer while I remain in Massachsetts.