| The New York Optimist June 2008, Vol. 01: Issue 01 |
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The Gallery Crawl
Thursday, June 26th, 2008
by
Stephan Fowlkes
Thursday, June 26th, 2008
by
Stephan Fowlkes
It seems that my focus on the positive elements in Chelsea these past few weeks
in my column has had adverse effects on my character. A lack of outlet for
criticism of the shortcomings I observe in many galleries has caused an
imbalance or disharmony in my being--even with my occasional venting. So in
the vein of true reporting, I feel the need to address what I feel to be the weak,
as well as the strong. And I do not necessarily see this as a digression from our
optimistic platform; by naming the monster, we hopefully can avoid it in the
future, making the art world and beyond a better place.
A week ago, I chose not to write about a show where I encountered a light
fixture on the wall with a pink plastic hanger hanging from it. Both objects--if
purchased at your local Home Depot--might run you a cool twenty bucks, plus
the non-PC bulbs. Don’t get me wrong, the sconce was attractive enough, and
I believe I even have a similar hanger in my closet. The genius must be in the
brilliant novelty or novel brilliance of combining these two apparently disparate
objects--who in the world would hang a hanger from a wall-mounted light?
Crazy, right? Oh, wait...didn’t some obscure guy throw a bicycle wheel on a
stool once upon a time, like 90 years ago, or another a bicycle seat with the
handle bars? Terms like ready-made and assisted ready-made come to mind.
But at least this guy had the vision to put two objects together in some
psychologically profound dialogue, challenging the viewer to reassess his or her
entire platform or life. NOT!!!
This week, the first show I went to presented me with an even greater
challenge: a wall-mounted, brass double-headed hook proudly being displayed on
the wall in the spotlight. (I, in fact, have the identical piece of hardware on the
back of my bedroom door holding my towel. They run $3.99 at my local
hardware store.) This guy manages to get away withOUT even pairing two
objects. Does this mean I’ve been hanging my towel on a piece of art these past
few years? But fear not if you don’t have one of these hooks...if you own a
yoga mat, you may not want to use it any more for its intended function...the
same artist decided that by putting it on the floor of the gallery, it transcends its
mundane function and is elevated to the noble role of Art. (If purchased outside
the gallery, this art can run you around fifteen bucks at most yoga centers.) But
just so you don’t think he does no work, a 27” x 27” red square painted on the
wall with Benjamin Moore paint shows us he is in touch with process-oriented
work and craftsmanship as well. Ahhh, his skill with the brush (and a roll of
masking tape) is wonderfully underplayed in this subtle attack on our
understanding of the parameters of the definition of art. Though vastly different
in subject matter, this particular piece takes me back to the smaller, black circle
painted on the wall of Anton Kern’s gallery a couple months back. Please, help
me understand why such work is even in a gallery. Didn’t Duchamp’s
“Fountain” pretty much cover these bases almost a century ago? And anything
he overlooked I feel the Minimalists and Conceptualists got pretty well covered.
If you have any insights, oh faithful readers, please feel free to email me at
sfowlkes@thenewyorkoprimist.com. I really want to figure this out, and
appreciate any help you can offer. The only help I got from the press release is
“This exhibition consists of many simple gestures that nevertheless actively
engage particular moments of the human experience.” Yeah, like when I hang
up my towel after my shower...thanks buddy!
“A.T. Complex”
Rashawn Griffin, Amanda Ross-Ho, Justin Samson, Joshua Smith at
John Connelly Presents
625 W. 27th Street
Through August 2, 2008
in my column has had adverse effects on my character. A lack of outlet for
criticism of the shortcomings I observe in many galleries has caused an
imbalance or disharmony in my being--even with my occasional venting. So in
the vein of true reporting, I feel the need to address what I feel to be the weak,
as well as the strong. And I do not necessarily see this as a digression from our
optimistic platform; by naming the monster, we hopefully can avoid it in the
future, making the art world and beyond a better place.
A week ago, I chose not to write about a show where I encountered a light
fixture on the wall with a pink plastic hanger hanging from it. Both objects--if
purchased at your local Home Depot--might run you a cool twenty bucks, plus
the non-PC bulbs. Don’t get me wrong, the sconce was attractive enough, and
I believe I even have a similar hanger in my closet. The genius must be in the
brilliant novelty or novel brilliance of combining these two apparently disparate
objects--who in the world would hang a hanger from a wall-mounted light?
Crazy, right? Oh, wait...didn’t some obscure guy throw a bicycle wheel on a
stool once upon a time, like 90 years ago, or another a bicycle seat with the
handle bars? Terms like ready-made and assisted ready-made come to mind.
But at least this guy had the vision to put two objects together in some
psychologically profound dialogue, challenging the viewer to reassess his or her
entire platform or life. NOT!!!
This week, the first show I went to presented me with an even greater
challenge: a wall-mounted, brass double-headed hook proudly being displayed on
the wall in the spotlight. (I, in fact, have the identical piece of hardware on the
back of my bedroom door holding my towel. They run $3.99 at my local
hardware store.) This guy manages to get away withOUT even pairing two
objects. Does this mean I’ve been hanging my towel on a piece of art these past
few years? But fear not if you don’t have one of these hooks...if you own a
yoga mat, you may not want to use it any more for its intended function...the
same artist decided that by putting it on the floor of the gallery, it transcends its
mundane function and is elevated to the noble role of Art. (If purchased outside
the gallery, this art can run you around fifteen bucks at most yoga centers.) But
just so you don’t think he does no work, a 27” x 27” red square painted on the
wall with Benjamin Moore paint shows us he is in touch with process-oriented
work and craftsmanship as well. Ahhh, his skill with the brush (and a roll of
masking tape) is wonderfully underplayed in this subtle attack on our
understanding of the parameters of the definition of art. Though vastly different
in subject matter, this particular piece takes me back to the smaller, black circle
painted on the wall of Anton Kern’s gallery a couple months back. Please, help
me understand why such work is even in a gallery. Didn’t Duchamp’s
“Fountain” pretty much cover these bases almost a century ago? And anything
he overlooked I feel the Minimalists and Conceptualists got pretty well covered.
If you have any insights, oh faithful readers, please feel free to email me at
sfowlkes@thenewyorkoprimist.com. I really want to figure this out, and
appreciate any help you can offer. The only help I got from the press release is
“This exhibition consists of many simple gestures that nevertheless actively
engage particular moments of the human experience.” Yeah, like when I hang
up my towel after my shower...thanks buddy!
“A.T. Complex”
Rashawn Griffin, Amanda Ross-Ho, Justin Samson, Joshua Smith at
John Connelly Presents
625 W. 27th Street
Through August 2, 2008
| Alright, I feel much better after that! Fortunately, I had the delight of balancing this with Philip Pearlstein’s mini retrospective “Then and Now” at Betty Cuningham. This comprehensive show presents work of Philip from the sixties juxtaposed with work from the ‘90s through today. It is a treat when you can see such a range, where the evolution in an artist’s development can be so clearly tracked, through subtle developments and choices made along the way. Six canvases of the twelve in the show hail from the sixties where the role of the figure was far more prominent compositionally and as subject-matter than in his later work, where the figure seems to serve more as a just another prop in his ever increasingly complex compositions incorporating elements from his vast array of flea market and antique store treasures, ranging from a neon Mickey Mouse to well-worn whirlygigs. The figures don’t evolve so much stylistically through the decades, so much as their role in the compositions. There are four relatively monochromatic canvases which seem somewhat contrary to his more familiar signature style of complex pattern, textures and color to juxtapose with the nudes...fabrics, colorful linoleum tiles of his studio. These early works are more about the nude as subject, largely dictating the composition. This differs greatly from the later works where the limited variation of color and tone of the models almost becomes the negative space within the colorful complexity of thir surroundings within the works. There is a certain abstract sensibility to Philip’s compositions, understandably, when you consider he was coming out of the period of Pollock and De kooning’s Abstract Expressionism of the ‘50s. This show is an exquisite example showing that painting never died. “Philip Pearlstein: Then and Now” 541 W. 25th Street Through August 8, 2008 |
Within the gamut of these two shows there was the usual
abundance of group shows which I’ll quickly list, but leave
the opining up to you.
“Scene Change: NY Gallery Artists Group Show” curated by
Emily Harris in Gallery I
“Wish You Were Here 7: Annual Postcard Show” in Gallery
II (be sure to keep an eye out for mine--a great opportunity to
own an original for a mere hundred bucks!)
abundance of group shows which I’ll quickly list, but leave
the opining up to you.
“Scene Change: NY Gallery Artists Group Show” curated by
Emily Harris in Gallery I
“Wish You Were Here 7: Annual Postcard Show” in Gallery
II (be sure to keep an eye out for mine--a great opportunity to
own an original for a mere hundred bucks!)
Carolee Schneemann,
"Evidence"
Digital print on
Hanamuhl paper with
hand lithography (AP
1/5), 12" x 12"
"Evidence"
Digital print on
Hanamuhl paper with
hand lithography (AP
1/5), 12" x 12"
| Postcards by Tom Otterness, left to right from top: Wish You Were Here 1-6 Graphite on paper, 4" x 6" each |
“Kat Gore and Colin Thompson: Spectrum” and Caroline Falby in the project room. Allen Gallery, 547 W. 27th Street, 5th Floor |
“Tria Summer Cocktail: A Group Exhibition Featuring Colorful and Vibrant Mixed Media Works for the Hot Summer Months” Keep an eye out for the paintings of Jenny Nelson--some subtle strengths at play there. Tria, The Suchman-Bart-Metheny Gallery, 547 W. 27th Street Through August 1, 2008 |
| “Small Wonders” 27 artists’ work creating a great diversity of visual experience, with an abundance of ocular entertainment. Garson Baker Fine Art, 511 W. 25th Street, #401 |
| I also came upon one powerful exhibition of photographs by Pamela Pecchio, curated by Lauren Ryan. Composition and subject-matter are equally addressed to present a poignant insight into the details of of Pecchio’s memories of childhood, whether fictional or real. “Habitation” Pamela Pecchio at Daniel Cooney Fine Art 511 W. 25th Street, 5th Floor Through July 31, 2008 |
