Posts Tagged ‘Get Visual’

ArtBeat: “Future Perfect” @ UAlbany’s University Art Museum [Get Visual]

Wednesday, November 30th, 2016
A group of drawings by Alexander Ross as seen in Future Perfect

A group of drawings by Alexander Ross as seen in Future Perfect

By David Brickman

The exhibition Future Perfect: Picturing the Anthropocene at the University at Albany Art Museum is a grand compendium of ideas that handily meets its purpose to “explore and inform,” but falls a bit short simply as an art exhibition.

Curated by Associate Professor Danny Goodwin, Director Janet Riker and Associate Director/Curator Corinna Ripps-Schaming, the show features significant individual pieces or bodies of work in a variety of media by 12 artists, augmented by 11 additional artists whose prints, drawn from the museum’s permanent collection by participants in a class project, create a sidebar exhibition within Future Perfect.

The anthropocene is the label now affixed to our current geological era, so named to reflect the changes to the earth’s climate and ecology that human activity has caused. Much of the work that has been selected to represent this concept here leans toward the futuristic, including animated science fiction film projects by Colin C. Boyd and Jacolby Satterwhite, and colorful, cartoonish critter paintings by Alexander Ross.

Click to read the rest at Get Visual.

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ArtBeat: Breathing Lights [Get Visual]

Friday, November 18th, 2016
(photo: hyers+mebane)

(photo: hyers+mebane)

By David Brickman

On a recent Saturday night I took a truncated bus tour of a few of the Breathing Lights houses in Albany, offered as part of Historic Albany Foundation’s annual Built fundraiser. It was good to finally get out and see some of the illuminated vacant houses, and I plan to go again soon – on foot for the real experience – and hopefully in all three participating cities (adding Schenectady and Troy).

In case you have been living under a rock, Breathing Lights is the local winner of a $1 million grant from the Bloomberg Philanthropies, part of its national “Public Art Challenge,” and comprises a collaboration among three city governments, several nonprofits and numerous neighborhood organizations. It is the brainchild of UAlbany art professor Adam Frelin in partnership with architect Barbara Nelson, and consists of a very elegant, broadly distributed installation of glowing panels in the windows of more than 200 vacant houses, which represent less than 10% of these three cities’ unoccupied housing stock.

The installation is (obviously) very ambitious, but it is also simple, which I can’t help but like. And it passes the “Is it art?” test quite easily, as the work transforms the subject matter and gives viewers a new experience of something old. All the better that this new experience comes directly out of one’s own presumably familiar local raw material. (Those who know my personal photography of some of these same neighborhoods will understand this approach is not unlike my own as an artist.)

Click to read the rest at Get Visual.

ArtBeat: Paul Mauren @ Albany Center Gallery [Get Visual]

Monday, October 17th, 2016
Paul Mauren - Speak to Me 2016, assembled mixed materials

Paul Mauren – Speak to Me 2016, assembled mixed materials

By David Brickman

The local art mafia came out in force last Friday night for Paul Mauren’s exhibition Where Things Go at Albany Center Gallery, and with good reason. Yes, many of the seeming hundreds of guests were this longtime College of Saint Rose professor’s colleagues, counterparts, current and former students, friends and fans, but the show alone is an event worthy of major excitement.

Mauren, a stalwart of the regional arts scene (and beyond) for several decades, has operated under the radar for the most part. Still, he has built up a presence through steady inclusion in important shows – going back to the 1979 Mohawk Hudson Regional, a 1981 solo at Emma Willard’s Dietel Gallery, and the seminal Water Works exhibition, held in 1982 in an Albany public bath house that eventually met the wrecker’s ball.

Click to read the rest at Get Visual.

ArtBeat: Masterworks @ AIHA [Get Visual]

Wednesday, August 31st, 2016
This 1817 map of the proposed Erie Canal is part of Masterworks: Paper

This 1817 map of the proposed Erie Canal is part of Masterworks: Paper

By David Brickman

With trips to all the summer shows winding down, I’d like to recommend a really worthy exhibition closer to home. Actually, this is a pair of exhibitions with the unifying theme of a deep exploration of the collections of the now-225-year-old Albany Institute of History & Art, entitled Masterworks: 225 Years of Collecting and Masterworks: Paper.

These shows were mounted during the past year to celebrate the Institute’s anniversary and its own history, with the larger, more inclusive exhibition featuring a thoughtfully constructed timeline of the organization, punctuated with compelling artifacts and objects such as grandfather clocks, a book of wool samples, paintings from three centuries, marvels in glass and silver, a fire bucket, travel posters, etc.

The richness of the AIHA’s holdings is well displayed here, and would be difficult to exaggerate. Though I am biased toward contemporary art, I can enjoy a sumptuously festooned French-style bed as much as the next guy, along with almost absurdly decorative cast-iron stoves, Americana in the form of elaborately incised powder horns, ceramics from near and far, and plenty of earlier fine art.

Click to read the rest at Get Visual.

ArtBeat: Swan Song [Get Visual]

Wednesday, August 24th, 2016
Installation view of Staying Power - photos provided by Albany International Airport Gallery

Installation view of Staying Power – photos provided by Albany International Airport Gallery

By David Brickman

It’s entirely appropriate that the final exhibition organized and installed by outgoing Director Sharon Bates at the Albany International Airport Gallery expresses the value of its title, “Staying Power.” Bates has the same qualities as the 11 venerable artists she has assembled for this excellent, elegant show – and she will no doubt amply demonstrate that in the next chapter of her life, when she sets forth in retirement as a full-time artist.

Her swan song is a paean to perseverance, a celebration of agelessness, a fascinating collection of excellence and diversity. The artists presented here have but two things in common: They are all located in the greater Capital Region; and they all have been at it for quite some time. Oh, and they’re all darn good. Naturally, I have my favorites among them, but I am reluctant to sully the unified purpose of this show by picking and choosing.

Instead, here’s an overview:

One feature of the show (which will hang through Monday, January 2, 2017) is a series of video interviews with the artists that has been placed on monitors in several spots throughout the gallery, as well as in a larger projection room. It underscores the purpose of the show to not only display the work these artists have created, but also to plumb their minds and their motives, as they discuss matters within the lifelong pursuit of an artistic career.

Click to read the rest at Get Visual.

STUDIO VISIT: Terrance DePietro & Nicole Lemelin [Get Visual]

Wednesday, July 27th, 2016
A view of the studio shared by Terrance DePietro and Nicole Lemelin

A view of the studio shared by Terrance DePietro and Nicole Lemelin (photo: TDP)

By David Brickman

A unique pleasure comes from visiting artists in their studios, as it is a privilege to step inside the process of a creative mind and get below the surface of the work itself. So, a few weeks ago, I took advantage of an opportunity to hang out with Terrance DePietro and Nicole Lemelin (and a few other guests) at their shared work/live space in rural Palenville, and it proved to be time very well spent.

DePietro and Lemelin joined forces a few years ago, while he was long established in Palenville and she was still living in her native Montreal, and they now have integrated their lives and art practice in a surprisingly seamless way. I had seen very little of either artist’s work before this foray to the Catskills, so I spent hours just taking it all in, punctuated by interludes of conversation and Niki and Terry’s kind hospitality.

These two mid-life painters share sensibilities so close that at first I had a little trouble telling their work apart (and that includes the vast majority of the work that was created before they even knew each other). But there are discernible differences (of course), even though the two are consistently driving at the same ideas. And, by “driving,” I mean working in a very directed and persistent manner.

Click to read the rest at Get Visual

ArtBeat: Summer Shows To See [Get Visual]

Wednesday, June 29th, 2016
Venus with an Organist and Cupid by Titan is on view at the Clark this summer.

Venus with an Organist and Cupid by Titan is on view at the Clark this summer.

By David Brickman

Summer has arrived, and it’s usual for a spate of blockbuster art exhibits to open at our region’s major museums. But, alas, this year is a disappointment – there’s no Van Gogh and Nature (which smashed box-office records at the Clark Art Institute last year); there’s no Modern Nature: Georgia O’Keeffe and Lake George (which put The Hyde Collection – and Glens Falls – at the center of the art world’s focus in 2013); and there’s no Norman Rockwell: Behind the Camera (which exemplifies the drawing and staying power of a well-formed exhibition, as it went on tour from Stockbridge’s Norman Rockwell Museum in the summer of 2010 and, since then, has generated over 12,000 page views of my review.

The closest thing we have this year to a summer blockbuster is the Clark Art Institute’s Splendor, Myth, and Vision: Nudes from the Prado (which opened on June 11). However, in our age of ubiquitous Internet pornography, it is almost quaint in its outdated immorality, and rather uninspiring compared to the usual star-studded summer fare offered by Williamstown’s queen of art museums.

Instead, we seem to have a season of prints: The Hyde Collection in Glens Falls is presenting Dürer and Rembrandt: Master Prints from the Collection of Dr. Dorrance Kelly (set to open on Sunday, July 10) and the Fenimore Art Museum in Cooperstown has Henri de Toulouse-Lautrec in Bohemian Paris (which opened last month), featuring posters, prints and drawings – but no paintings.

We also have a summer of outstanding contemporary art, in venues as diverse as the Albany International Airport Gallery; The School in Kinderhook; libraries in Albany and at Union College; small galleries in Lake George, Hudson and Schuylerville; and the vast MASS MoCA in North Adams, where conservative skeptics are won over every day by consistently excellent selection and installation of today’s most challenging living artists.

Here are my recommendations for summer viewing, in approximate descending order of scale:

1. Explode Every Day: An Inquiry into the Phenomena of Wonder, MASS MoCA through April, 2017. I could recommend this show on the basis of the title alone – but it includes a grand swath of international artists, at least one of whom I know I love, so there’s reason to believe it delivers on the promise. And there are nine (count ’em) other current exhibitions there as well. Just plain go.

Click to read the rest at Get Visual.

ArtBeat: “Borrowed Light” @ the Tang Museum [Get Visual]

Monday, June 6th, 2016
Installation view of Borrowed Light: Selections from the Jack Shear Collection (photo: Arthur Evans)

Installation view of Borrowed Light: Selections from the Jack Shear Collection (photo: Arthur Evans)

Review by David Brickman

The future looks pretty frightening at the moment, and personal legacies may seem like a shallow concern – but Jack Shear’s personal collection of photographs, a huge selection of which is on view at the Tang Teaching Museum at Skidmore College in Saratoga Springs through Sunday, August 14, is an absolutely dazzling legacy.

Shear, who is the executive director of the Ellsworth Kelly Foundation, is also a photographer in his own right and has experience as a curator (this selection was co-curated by Shear and Tang Director Ian Berry). But this more-than-500-piece collection, donated in its entirety to the Tang last year, is what he will be remembered for, and with good reason.

Beginning in the 1840s with a vitrine full of Daguerreotypes, and continuing through the early 2000s, this compendium of the history of Western photography is a treasure trove that belongs at a teaching museum, where Berry and Shear contrived to place it at the fingertips of students, curators and scholars for the years to come. For now, we get to be those scholars, exploring about half the collection where it is gorgeously arrayed through the Tang’s entire second floor galleries, in pristine rows and heady constellations of cleanly framed prints.

Click to read the rest at Get Visual

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