Posts Tagged ‘David Brickman’

ArtBeat: “Fiber Currents/Current Fiber” @ Perrella Gallery [Get Visual]

Tuesday, November 17th, 2015
Patricia Kennedy-Zafred - Childhood Lost: The Doffer Boys, mixed-media cotton quilt

Patricia Kennedy-Zafred – Childhood Lost: The Doffer Boys, mixed-media cotton quilt

Review by David Brickman

A long wished-for exhibition is now a reality at Fulton-Montgomery Community College’s Perrella Gallery in Johnstown. Gallery Director Joel Chapin wanted a national fiber show, but needed expert help in creating it. He found that help in the form of Bleecker fiber artist Judith Plotner, who agreed to take on the project – the result is Fiber Currents/Current Fiber, on view through Friday, December 18.

A first-time (and, according to her, also last-time) curator, Plotner has ably organized a diverse selection of 21 artists from all over the United States to fill this clean and pleasant (if somewhat tight) space with high-quality and engaging fiber-based work. These are not your great-grandmother’s log cabin quilts (though quilting is strongly present); rather, this is contemporary art by top-shelf makers who utilize cloth, thread, vines, wire, plastic – and much more – to realize their personal visions.

Click to read the rest at Get Visual.


Janet Werner: “Zero Eyes” @ Esther Massry Gallery [Get Visual]

Tuesday, November 3rd, 2015
The painter with one of her works. All other images are oil on canvas by Janet Werner.

Artist Janet Werner with one of her paintings.

Review by David Brickman

Regular readers of this blog know I rarely run a negative review. There are several reasons for this, the main one being that I write about art to build enthusiasm for it, not to knock it down. Usually, if I see something I’m not keen on, I will just let it go. But there are times that something falls short, and I feel it must be pointed out. You can tell this is going to be one of those times – but always remember, my opinion is nothing compared to each viewer’s personal response to the art – and I urge you always to seek your own experience.

So “Zero Eyes,” the current exhibition of paintings by Janet Werner, on view at the College of Saint Rose’s Esther Massry Gallery through Sunday, December 6, is not my cup of tea. Why don’t I like it? Tough question! But I’ll do my best to explain…

Click to read the rest at Get Visual.

ArtBeat: Scott Brodie Retrospective @ Albany Center Gallery [Get Visual]

Monday, September 28th, 2015
Scott Brodie - Waputki 2, oil on canvas 2015

Scott Brodie – “Waputki 2,” oil on canvas 2015

Review by David Brickman

There’s one thing nearly all painters have in common: They love to push paint around. A power-packed retrospective of nearly 40 years of work by Scott Brodie at Albany Center Gallery (on view through Saturday, October 3) amply illustrates this fact and equally demonstrates that it is true whether the image is photo-realistic, totally abstract or anything in between.

And, if you think it’s not possible for a painter to work in such (apparently) divergent styles while maintaining a singular voice, think again. We all evolve over time, but even in a long-term retrospective an artist should show consistency – if they don’t, it’s a sign of inadequate commitment to a vision. Yet Brodie’s show, despite its diversity, makes clear that his vision has remained quite clear over the long haul and, in my opinion, has grown stronger of late.

Click to read the rest at Get Visual.

ArtBeat: “Van Gogh and Nature” @ the Clark Art Institute [Get Visual]

Tuesday, September 8th, 2015
Vincent Van Gogh - A Wheatfield with Cypresses, 1889 oil on canvas The National Gallery, London

Vincent Van Gogh – A Wheatfield with Cypresses, 1889 oil on canvas
The National Gallery, London

Review by David Brickman

Here’s what’s obvious: You must not miss Van Gogh and Nature at the Clark Art Institute in Williamstown, Mass., which ends its exclusive run there on Sunday (September 13). Simply put, you will never get another chance to see such a breathtaking collection of this artist’s work – gathered from all over the world – together again. Ever.

Here’s what may be less obvious: The title of the show, and its claim to being “the first exhibition devoted to the artist’s abiding exploration of nature in all its forms” are off the mark. Take, for example, the brilliant painting reproduced above. The sky and mountains are not wrought by human intervention, however personally interpreted by the painter, and the wind ruffling the many plants below that sky is all natural. But what about those plants, and that landscape they inhabit? This is not by any means a natural place. It is dominated by a cultivated wheatfield, cypresses, and olive trees that were, I’m fairly certain, planted by people, in a place that was most likely clear cut centuries before Vincent laid eyes on it. Is this nature?

Click to read the rest at Berkshire on Stage.

ArtBeat: 2015 Artists of the Mohawk Hudson Region [Get Visual]

Monday, August 31st, 2015
Daniel Brody: Game On/Game Over, still from digital video

Daniel Brody: Game On/Game Over, still from digital video

Review by David Brickman

Every year, the annual Exhibition by Artists of the Mohawk-Hudson Region offers a good opportunity to take the pulse of the Local 518 art scene in one time and place, and this year’s edition at the University at Albany Art Museum is a prime example of how that works.

Though the vagaries of who submits work each year and especially the taste of the juror will have a distinct impact on what’s seen, there’s usually a broad enough coverage to be reasonably representative of what artists in the orbit of Albany are doing. And because these artists are also in the orbit of New York City, one can also get a sense of what’s current there and, by extension, in the art world as a whole. This year’s juror, Rachel Uffner, owns a New York City gallery, so the sensibility of the show is most likely that much more imbued with the bigger art world point of view.

If so, then the current art world, whether regional or global, is still very much about painting, especially painterly abstraction, with a strong side interest in the figurative and the decoratively patterned, and flirting a bit with representation on the Pop side of things. There are 44 artists included (out of a daunting 367 who entered the competition), which is a good number – neither too many to get a grip on in one viewing, nor too few to hold the space – and about three-quarters are represented by multiple works, which is always desirable in large group shows.

Click to read the rest at Get Visual.

NOTE: Saturday (September 5) is the final day to view the exhibition…

“Lit” @ Albany International Airport Gallery [Get Visual]

Tuesday, August 25th, 2015
Scott Nelson Foster, Real and Imaginary Houses 12 - oil on panel

Scott Nelson Foster, “Real and Imaginary Houses 12” – oil on panel

Review by David Brickman

The sky was performing spectacularly at the end of a stormy day, which provided the ideal preparation for Lit, a theme show about phenomena of light at Albany International Airport Gallery that runs through Sunday, September 13. As with all the shows presented at this generous venue, Lit is intelligent and friendly, and features outstanding artists from the greater Capital Region as both a showcase of regional talent and an oasis of uplifting culture for weary travelers.

But you don’t have to be traveling to enjoy these exhibitions – the gallery area is open to the public, parking is free for the first half-hour, and the hours (7am-11pm daily) make it the most accessible high-quality art space anywhere. I was drawn to this show particularly by the inclusion of a few of my favorite artists from around these parts, but also by the theme. After all, without light, we wouldn’t exist.

Lit features six artists and a collaborative: a spare number, yet enough to cover a lot of bases here, including sculpture, industrial design, two extremely different approaches to photography, drawing, painting and projection. The work in the show is approximately evenly divided between color and monochrome, with most of the color coming from the palettes of sculptor Victoria Palermo and painter Scott Nelson Foster.

Click to read the rest at Get Visual.

ArtBeat: “Roz Chast: Cartoon Memoirs” @ Norman Rockwell Museum [Get Visual]

Tuesday, August 4th, 2015
A New Yorker cover drawing by Roz Chast

A New Yorker cover drawing by Roz Chast

Review by David Brickman

Who doesn’t love Roz Chast? Her quirky take on life, as seen in countless New Yorker cartoons and covers, is the essence of contemporary American neurosis and it makes us laugh in recognition of our own foibles (or, more likely, those of our friends and relatives).

So, one recent lovely summer day we took a trip to Stockbridge to enjoy Roz Chast: Cartoon Memoirs at the Norman Rockwell Museum – and were immediately immersed in Roz’s world. And I don’t just mean immersed via the scads of drawings and artifacts on view. I mean immersed as in, by pure chance, we ran into Roz’s cousin Nancy, from Albany, who knew one of my sisters in Jewish youth group about 50 years ago, along with Nancy’s husband, and, yes, they were depicted rather accurately in a family group portrait included in the Memoirs on display.

It used to be you wouldn’t be surprised to run into one of Norman Rockwell’s former child models in Stockbridge – but this was a Roz Chast show in 2015, so we got cousin Nancy instead, and it was even better.

Click to read the rest at Get Visual.

ArtBeat: Maxfield Parrish @ the Fenimore Art Museum [Get Visual]

Wednesday, July 29th, 2015
Maxfield Parrish - Masquerade oil on board 1922

Maxfield Parrish – Masquerade oil on board 1922

Review by David Brickman

If you think an exhibition of work by an early-20th-century illustrator with broad commercial appeal is not to be taken seriously, think again. “Maxfield Parrish: Art of Light and Illusion,” on view at Cooperstown’s Fenimore Art Museum through September 7, is a knockout.

Maxfield Parrish was the most popular and highest paid commercial artist of his time and, judging from the art, artifacts and facts on display here, he earned it. While skill alone never makes great art, it can’t hurt – and Parrish had enough skill for 10 great artists. Initially educated through his artist father’s tutelage and a seminal two-year European sojourn as a teen, Parrish first took an architecture degree, then went to study under Howard Pyle, himself a memorable illustrator of the day, before embarking on a career that revolutionized the field of commercial art reproduction.

Click to read the rest at Get Visual.

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