Posts Tagged ‘Get Visual’

ArtBeat: “Photography” @ Carrie Haddad… and Other Hudson Galleries [Get Visual]

Wednesday, January 27th, 2016
Kahn & Selesnick, Oak-Man Falls 2015, archival inkjet print

Kahn & Selesnick, Oak-Man Falls 2015, archival inkjet print

Review by David Brickman

I drove over to Hudson last Sunday to meet a friend for a pizza at Baba Louie’s (it was delicious) and check out the Photography show at Carrie Haddad Gallery. Haddad typically focuses on painting, but her gallery (the longest-standing in Hudson at 25 years old) has always shown photography as well, and this seemed like the perfect opportunity to enjoy a contemporary showcase for the medium.

We were not disappointed, as the exhibition featured a wide array of traditional and postmodern styles, ranging from Jerry Freedner’s bucolic Catskills landscapes to Newbold Bohemia’s tacky domestic dramas and Gail Peachin’s clever, tiny cutouts.

The show includes 12 artists but gives the lion’s share of space to the duo Kahn & Selesnick, whose elaborately detailed fantasies have evolved from neo-antique sepia prints to richly colored inkjets. Just a few of K&S’s new works are monochrome, and those work very well, but here we see mostly color among the 20 images presented and, frankly, it is a bit distracting. That’s because the pictures still evoke timelessness, yet the coloration in most of the prints is noticeably 21st-century.

Click to read the rest at Get Visual

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ArtBeat: “Folk Modern” @ Albany International Airport Gallery [Get Visual]

Friday, January 22nd, 2016
Installation of found-object assemblages by Jack Metzger, 2006-2015 (photo: Arthur Evans)

Installation of found-object assemblages by Jack Metzger, 2006-2015 (photo: Arthur Evans)

Review by David Brickman

The creative process can be deceptively simple, but I find exposure to it is almost always uplifting. There’s a delight in seeing how a person, whatever their flaws, can draw from within themselves the strength, imagination, and skill to produce something new and wonderful to behold.

Folk Modern, the current exhibition at Albany International Airport Gallery (on view through Sunday, May 8), explores how eight regional makers (perhaps a better word in this case than “artists”) have delved into that creative impulse and, as such, is a celebration of it. Emblematic of the special qualities of this process is the work of Jack Metzger (pictured at the top of this post), a shop owner who seems to just really like to collect odd, old stuff and mess around with it. His installation in the show reveals a discerning eye, a sense of wit and a reverence for the integrity of a good, mysterious object. It’s also great fun.

The mounted text that introduces the show makes the point that “the wall between folk and fine art has been crumbling for some time, and inhabitants of both sides have been finding much common ground.” Indeed, one would honestly have to admit that, without peeking first at a resume, there’s no way to tell which of these people is on which side of that fading divide.

Click to read the rest at Get Visual.

ArtBeat: Tidbits for 2016 [Get Visual]

Monday, January 11th, 2016
Ellsworth Kelly in his studio in 2012 (photo stolen from the New York Times)

Ellsworth Kelly in his studio in 2012 (photo stolen from The New York Times)

By David Brickman

As 2016 yawns and stretches into existence, a few items on the local art scene have caught my attention:

  1. The recent death at age 92 of Ellsworth Kelly. Almost universally regarded as a giant of 20th-century art, Kelly lived and worked in our region (Spencertown, Columbia County) for a great many years. I recall one encounter with the man, about 1984, when he stopped in to peruse my modest gallery on Washington Avenue in Albany. We knew he was a client of the hairstylist upstairs, but had never seen him. So, one day a middle-aged gentleman came in from the stairway area and looked around with what seemed to be a very practiced eye. I tried to engage him in conversation – no luck. Then I asked if we could place him on our mailing list (we did that with all visitors), but he demurred. When I more or less forced an introduction, he only gave one name: Kelly. I do recall that he did not seem impressed by what he saw, but neither did he seem disgusted. Personally, I love his work for its purity of form and color, and for its spirit of adventure. I also like the fact that Kelly was a supporter of local ventures, donating a print or two to be sold at Albany Institute fundraisers and employing local artists as assistants. He will be missed.
  2. Jack Shear photography collection donated to the Tang Teaching Museum. Shear was Ellsworth Kelly’s longtime partner, and on Saturday, February 6 the Tang will open an exhibition selected from 500 significant and historical photographs he recently donated. It’s a very truncated who’s-who of 20th-century photography (with a notably gay-centric twist) that is sure to draw a lot of viewers and perhaps a snippet of controversy. Remember when the political right wing went nuts because the NEA had supported an exhibition of Robert Mapplethorpe pictures in Philadelphia? This show will definitely make it clear we’re over that.

Click to read the rest at Get Visual

ArtBeat: “Pulled, Pressed and Screened” @ the Hyde Collection [Get Visual]

Tuesday, December 29th, 2015
Robert Cottingham - Orph, 1972 color lithograph on wove paper

Robert Cottingham – Orph, 1972 color lithograph on wove paper

Review by David Brickman

Perhaps my biggest regret from my college experience is that I never studied printmaking. Aside from the fact that, outside of art school, it’s hard to get access to a fully equipped print shop (and, so, it was an opportunity lost) I think I would have enjoyed the processes. And I’m sure I would be a smarter person now if I had learned some of those complex techniques then.

That’s one reason I wholeheartedly urge you to see Pulled, Pressed and Screened: Important American Prints at The Hyde Collection in Glens Falls, on view through Sunday, January 10. Organized by the Syracuse University Art Collection, Pulled, Pressed and Screened features 51 prints by as many artists and spans the decades from 1930 to 1980.

This gorgeous selection makes clear how important printmaking is to 20th-century American art and provides a wonderful window onto our history. It’s also easy to love, as many of the artists are familiar names, including Grant Wood, Robert Blackburn, Jasper Johns, Helen Frankenthaler, Milton Avery, Romare Bearden and Dorothy Dehner.

Click to read the rest at Get Visual.

ArtBeat: “Tick/Zellin: Later Rather Than Sooner” @ the PhotoCenter [Get Visual]

Monday, December 7th, 2015
Agnes Zellin - untitled photograph from Astoria N.Y., late 1970s or early 1980s

Agnes Zellin – untitled photograph from Astoria, NY, late 1970s or early 1980s

Review by David Brickman

In an extreme case of better late than never, two bodies of work by photographers Paul Tick and Agnes Zellin have been mounted in a beautifully conceived exhibition at the PhotoCenter of the Capital District in Troy, on view through Sunday (December 13). PhotoCenter hours are Thursday-Friday, 5-9pm, and Saturday-Sunday, 12noon-6pm).

Originally urged by their mutual mentor Mel Rosenthal more than 35 years ago, this event is the curatorial baby of Mark Kelly (creator of the former Exposed Gallery of Art Photography in Delmar), who designed and planned the installation, along with a handsome short-run book that accompanies it. Kelly has done an admirable job of presenting two collections that share many characteristics but are also quite distinct from one another.

There are many stories behind these photographs, including that of their makers, who are married to each other now. The pictures fall cleanly into the category of “concerned photography” – not quite journalism, not quite art; rather, a form of personal documentary that held sway for decades from the WPA era, through the heyday of Life magazine, and into the 1970s, when Tick and Zellin were learning their craft and prowling New York City with their cameras.

Click to read the rest at Get Visual

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.

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