Posts Tagged ‘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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REVIEW: “Truro Light: A Journey from Ocean to Bay” by Joseph Schuyler [Get Visual]

Monday, July 20th, 2015
Joseph Schuyler: Harbor View, Evening

Joseph Schuyler: Harbor View, Evening

Review by David Brickman

The spirit of Joseph Schuyler, who died of cancer in January, shines brightly throughout the beautiful book Truro Light: A Journey from Ocean to Bay. Schuyler, a photographer based in Delmar, was able to plan the book (his first) but, sadly, did not live to see it published. It’s fitting that it tells the story of a journey, and that its subject is a place that held deep personal importance for Schuyler, the second-to-last town out on Cape Cod.

I knew Joe for a long time, so this will not be an objective review, but I can attest that some of my in-laws who live on the Cape, were enthralled by his poetic vision of an endlessly beautiful natural world. In a succinct, punchy introduction, Schuyler says “my goal is for you to be able to experience for yourself the sense of this remarkable place,” and he accomplishes that goal handily, but not without also imbuing our experience with the sense of how he sees and feels about his muse.

Schuyler’s vision as a photographer has always been eclectic – he was widely known for work in black and white that recorded decades of productions by Albany’s Capital Repertory Theatre, did catalog work, sold pictures to commercial stock agencies and regularly exhibited fine art prints – and that is also true in this book. We see landscapes, nature details, architecture and abstracts along the journey, and in a signature Schuyler touch, a lot of the pictures are taken in low light, rather than the blazing sun that draws so many to this ocean shore.

Click to read the rest at Get Visual.

ArtBeat: “Walter Launt Palmer: Painting the Moment” @ Albany Institute of History & Art [Get Visual]

Tuesday, July 14th, 2015
Wheat and Poppies, 1889-90 pastel on paper

Wheat and Poppies, 1889-90 pastel on paper

Everybody knows the blockbuster show of the summer is Van Gogh at the Clark Art Institute in Williamstown – all the more reason you should check out the work of his Albany contemporary, Walter Launt Palmer, on view at the Albany Institute of History & Art through August 16. Born into an artistic family in 1854 (Vincent was one year older), Palmer started early and enjoyed a long, successful painting career. At first he held to the Victorian mode, but by the 1880s he was a full-on American Impressionist, no doubt influenced by the same movement that brought us the ever astonishing Van Gogh.

This comprehensive exhibition of Palmer’s three significant series fills the big upstairs gallery of the Institute, which owns most of the paintings presented here (a select few are borrowed from private collectors). It begins with early still life and nature sketches, revealing a very skilled hand that would later be put to the particular task of painting lavish interiors. Two of those highly detailed works that he was regularly commissioned to make depict rooms in the house that gave Arbor Hill its name (now known as the Ten Broeck Mansion) and, with their dark, Victorian air, show why Palmer eventually stopped this pursuit – it was ruining his vision.

Click to read the rest at Get Visual.

ART: Summer Shows to See [Get Visual]

Monday, July 6th, 2015
Van Gogh and Nature will be at The Clark through Sept. 13

Van Gogh and Nature will be at The Clark through Sept. 13

Previews by David Brickman

Just like that, July 4th is over, and it feels like summer will be soon be a distant memory, too. A bunch of museum exhibitions ought to be part of those memories, if you can organize it, with Van Gogh and Nature at Williamstown’s Sterling and Francine Clark Art Institute through September 13 topping the list.

Other shows not to be missed include: Roz Chast: Cartoon Memoirs at the Norman Rockwell Museum in Stockbridge through October 26. The sardonic and self-deprecating New Yorker cartoonist is about as far from The Saturday Evening Post as you can get – which is why I can’t wait to see this show in Rockwell’s house.

Near Stockbridge is Boston Sculptors Gallery at Chesterwood 2015, featuring 24 Boston-area sculptors’ responses to the work, estate and gardens of Lincoln Memorial sculptor Daniel Chester French, through October 12.

Click to read the rest at Get Visual.

Fence 50 @ ACCR: Democracy in Action [Get Visual]

Monday, June 15th, 2015
Fence 50 installation view - Photos provided by the Arts Center of the Capital Region

Fence 50 installation view – Photos provided by the Arts Center of the Capital Region

Review by David Brickman

It’s been 50 years, and the Fence Show is still going strong at The Arts Center of the Capital Region in Troy. I can remember in the early ’80s hanging the works on the spikes of the wrought-iron fence that gave the show its name, and it retains the wide-open feeling it had then of being a show for the people.

This year’s edition attracted 382 entries from a total of 237 artists, 40 of which were submitted by 33 K-12 students, and as is the tradition, all are on display in a jam-packed salon presentation (as seen in the photo above) through June 27. Such clutter would require a stepladder – and a lot of time – to properly peruse, but that’s what juror Julie Lohnes (curator of Union College’s collections and Mandeville Gallery) must have done in order to choose works for the Fence Select edition of the show and designate the prizes.

Such a democratic enterprise has its pluses and its minuses. The only requirement for inclusion is membership in the ACCR; it appears submissions were limited to two per artist, and I’m guessing there was a size limit – but otherwise, if you brought it, it got in. The result: Everybody gets to participate (yay!) but a fair amount of truly awful work is thereby presented, and even the best work pretty much gets overwhelmed by the swirling mass of media in the show.

Click to read the rest at Get Visual.

Studio Visit: David Arsenault [Get Visual]

Wednesday, June 3rd, 2015
Center of Attention - Oil on canvas by David Arsenault

Center of Attention – Oil on canvas by David Arsenault

By David Brickman

His work has been compared to that of Edward Hopper. He was voted “Best Visual Artist” by the readers of Metroland in 2002. And as a past president and Oakroom Artists stalwart for many years, he has shown a lot in Schenectady and just about everywhere else a painter can in the Capital Region. But David Arsenault has moved on – to Rockport, Mass. – and he’s not looking back.

I recently caught up with Arsenault in his newly opened gallery in Rockport, a sweet seacoast town on Cape Ann with beautiful harbors, rocky sea walls, inviting cafes, many galleries and a long history of resident painters. He moved there only last fall but has already immersed himself in the cultural scene and staked his claim to the town’s iconic “Motif #1,” a satisfyingly geometric red fishing shack (seen in the painting reproduced above).

Arsenault was pushed to this decision by a helpful interruption to a long career in publishing (he was trained at Sage College of Albany as a graphic designer) and pulled by an equally helpful wife who has often relocated and was ready to do it again. They landed well, renting a nifty wooden house in town and the crisp space that houses the gallery, where Arsenault has a well-lit painting loft and lots of nice walls to display his finished work, situated a stone’s throw from the Motif on a charming, touristy stretch called Bearskin Neck.

Click here to read the rest at Get Visual.

Jim Shaw: “Entertaining Doubts” @ MASS MoCA [Get Visual]

Tuesday, April 28th, 2015
Jim Shaw - The Rinse Cycle 2012 acrylic on muslin

Jim Shaw – The Rinse Cycle 2012 acrylic on muslin

Review by David Brickman

Have you ever tried to describe a crazy dream you had, or tried to follow someone describing such a dream? Then you will have some idea what it’s like to experience the large exhibition “Entertaining Doubts” by California artist Jim Shaw at the Massachusetts Museum of Contemporary Art in North Adams. Shaw draws a great deal from his dreams and attempts to manifest them physically through sculpture, painting and installation.

Alas, it is not an entirely successful effort, just as none of us has ever really adequately articulated our own dream or understood another’s, but a lot of compelling and enjoyable art is created along the way, so it’s also not a failure. Shaw has great skills in drawing and painting, and a good understanding of the theatrics that go into effective installations, and MASS MoCA gives him plenty of space to spread out in.

A signature of the show is Shaw’s re-use of discarded painted theatrical backdrops. The worn texture of these huge curtains of muslin, and their time-softened colors, are very appealing, and Shaw makes the most of this appeal by limiting his interventions to partial overpainting or, in some cases, simple reinterpretation by the placement of flat figures in front. Shaw also takes smaller cuts of the backdrops and paints on them like stretched canvases. These are some of the best works in the show, perhaps because it is easier to digest them, or because smaller works can concentrate the idea better. (Mind you, in this context, small is relative: say, six feet rather than forty.)

Click to read the rest at Get Visual.

Nicholas Krushenick @ Skidmore College’s Tang Museum [Get Visual]

Friday, April 10th, 2015
Installation view featuring the painting titled Electric Soup at left.

Installation view featuring the painting titled “Electric Soup” at left

Review by David Brickman

It was 1979: Punk rock was at its peak, rents in SoHo were still cheap, and Nick Krushenick was nearly a forgotten man. My college painting class was on a field trip to New York City, where a visit to Krushenick’s studio had been arranged. The artist showed little enthusiasm, reluctantly pulling a few paintings from a leaning stack, far less interested in talking about his work than he was in bragging about his son’s band, which had just cut their first record.

Flash forward to 2015, and the late Krushenick is now the subject of a solo show at Skidmore College’s Frances Young Tang Teaching Museum and Art Gallery, such a rarity that the 20 major pieces it has brought together represent the biggest collection of his work ever seen publicly. Nicholas Krushenick: Electric Soup, on view through Sunday, August 16, is a brash, bold exhibition that spans over 30 years of output with pristine, large-scale acrylics that appear so fresh they just about jump right off the wall.

Click to read the rest at Get Visual.

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