JUN/JUL/AUG 2013 www.galleryandstudiomagazine.com VOL. 15 NO. 5 New York GALLERYSTUDIO Grayson Perry Brit Punk Transvestite Pottery Genius pg. 8 ) . Picture Credit: Photo Rob Weiss Credit: ) . Picture 78 1996 photographic print, H. 71x W. 48 (30 x 18 1996 photographic print, H. 71x W. Pollock Death Car Girl Ruth Kligman an excerpt from Ed McCormack’s HOODLUM HEART pg. 14 claire as the mother of all battles, $XJXVW 6HSWHPEHU 2SHQLQJ5HFHSWLRQ7KXUVGD\$XJXVWSP O3ULQWµ[µ 'DYLG5HLQIHOG5HFRQVWUXFWHG6HULHV3LJPHQW,QN'LJLWD µ[µ 1DWDOL.DUSSLQHQ,FH4XHHQ3KRWRJUDSKLF3ULQWRQ'LERQG Salon Show 2013 Fine Arts, Photography, Craft / Multimedia Exhibit June - July, 2013 Reception: June 22, 2:30 - 5:30 pm Curators: Margo Mead & Linda Lessner +G Artists: Carole Barlowe • Daniel C. Boyer Silvia Soares Boyer • Richard Carlson Arthur Cajigas • Rosa Alfaro Carozzi +I Robert Eckel • Jutta Filippelli Arlene Finger • George Jellineck :ĞŶŶŝĨĞƌ&ĞƌĚŝŶĂŶĚƐĞŶ^ƵƐĂŶŶĂŚsŝƌŐŝŶŝĂ'ƌŝĸŶ Linda Lessner • Margo Mead EĂƚĂůŝ<ĂƌƉƉŝŶĞŶ&ƌĞĚDŽƵ Michelle Ordynans • Dammika Ranasinghe Dimuthu N. Ranasinghe • Peter Schultz Monique Serres • et al :HVWWK6WUHHW1HZ<RUN )D[ %URDGZD\0DOO&RPPXQLW\&HQWHU ZZZ$JRUD*DOOHU\FRP %URDGZD\#6W 1<& &HQWHU,VODQG LQIR#$JRUD*DOOHU\FRP *DOOHU\+RXUV:HGSP6DW6XQSP [email protected] 212-316-6024 www.wsacny.org -FNPVWFNFOU"SUEBOTM䝐USF)VNBJO <࠳ݢ౟ޖझ1BSJT೧৻ౠ߹੹<ോݢی೐ 1BSJT(BMMFSZ +VOF_+VMZ "1 WFOVF%BVNFTOJM BSJT'SBODF 0QFOJOH 1BSUZQN +VOFUI .FUSP(BSFEF-ZPO #BTUJMMF "SUJTU #PNJ,*. ,XBOH 4BLJSPP #PPU+JM $IVOIP80/ +VOHNJO-&& ;PPLJ 4VOHTJL-&& %PBN 4VOHLVH,*. ,JXPVO4)*/ *M)XB)POH )POHTV)"/ 0SHBOJ[BUJPO Indian Artist Sunjoy Jeergall is Ready for His Close-up ndian art is the newest art Iworld discovery. In the past few years, modernist Indian masters such as F.N. Souza, G S M.F. Husain, and S.H. Raza, having been commanding impressive figures at auction Highlights in all the art world capitols, and obviously the time is right for forward-looking American On the Cover: critics and collectors to catch Why transvestite artist Grayson Perry, up with a younger generation “Dark World–Through The Window” the most wizardly British Potter since of contemporary Indian painters Harry, is more punk than the overblown both abroad and on our own shores. show at the Met. –Page 8 Since being alerted to his work in a review by another writer for Also: a Hoodlum Heart excerpt about this publication in 2007, before the present boon was fully underway, Pollock car crash survivor Ruth Kligman I have felt that one of the most gifted painters among them is Sunjoy with photographs by downtown art luminary Jeergal, the son of a prominent sculptor and art teacher in Mumbai. Anton Perich. –Page 14 For although he has lived and worked in the United States since 1996, Jeergall’s paintings exemplify qualities of his national heritage that, if anything, have been made more indelible rather than eroded by his experience in the New York City art scene. The burnished earthtones in his palette, like those of Souza, Husain, and Raza, are steeped in the clay of an arid tropical landscape; while the more strident reds and orange hues evoke not only its heat but also its pageantry and grandeur. Some of Jeergall’s paintings depict classically proportioned figures in a symbolic setting somewhere between the earthly and the cosmic, with variously colored spheres suspended in the stratosphere above. They take on a monumentality akin to the heroic figures of the great British visionary William Blake, as they gather together in family groups or contemplate their environment in solitude. Other compositions veer toward the abstract, consisting of angularly simplified and interlocked shapes that remain figuratively allusive, even while projecting an autonomous formal appeal unique to Jeergall’s visual vocabulary. The energy of individual human aspiration emanates from these shapes, even as they appear entangled in and anxious to Susan Sills, p. 25 wrest themselves from the ties of codependency. “My artworks are the manifestation of unconscious archetypes Bob Tomlinson, p. 5 predominantly representing the saga of very life on this earth,” Jeergall asserts in an artist statement, “and the constant struggle for survival causing various homogeneous groups tied together in relationships that are either harmonious or conflicting to one another in nature.” One of Jeergall’s most potent recent paintings despite its relatively modest scale (16x20 inches) is “Dark World – Through the Window.” Here, he departs from his usual clearly defined interlocking shapes and subtle, subdued hues for a more aggressively vigorous gestural Malka Inbal, p. 28 approach akin to Abstract Expressionism. A muscular mass of white and blue oil impasto laid down with a brush and perhaps piled on with a palette knife, projects the sense of a solid object at the center of the composition. Because its contours are roughly defined, a viewer familiar with Jeergall’s imagery may be tempted to “Rorschach” angular figurative allusions onto the object’s outer edges. And given the title of the painting and the visceral patches of red within the white and blue impasto, one may envision these figures as if glimpsed through a window, moving amid a dreamlike nocturnal miasma of neon light. Yet that the white and blue central form contains black cavities and is set against a background of crosshatched brown strokes, suggesting an earthen wall, could also evoke a skull in one of those death-haunted 16th century northern European still life compositions known as a vanitas. Thus this painting seems to forecast both a darkening and a deepening in the art of Sunjoy Jeergall. –– Byron Coleman Sunjoy Jeergall, Berkeley College Art Gallery, 3 East 43rd Street, June 3 - 28, 2013 Barbara Fracchia, p. 11 Deborah Rhodes, p. 21 2 GALLERYSTUDIO JUN/JUL/AUG 2013 “Up-Surd” Showcases an International Roster mong the artists featured in this oddly of McCusker’s most dynamically rhythmic ranging from children to Japanese geishas in Anamed large group exhibition, curated compositions. Featuring bold flowing forms ornate kimonos. by Basha Maryanska, Ellen Metzger O’Shea that cursively interlock, it creates an almost Flowingly aqueous forms akin to those works in two distinctly different stylistic sculptural sense of mass in two dimensions. of the American abstract expressionists modes: expressionistic plein air landscapes Andrew Kaminski revives the intricate Paul Jenkins and Helen Frankenthaler fill and surrealistic paintings merging large imagery of the psychedelic era in his the abstract compositions of Nancy Stella faces and figures with landscape elements luminous paintings inspired by what he refers Galianos with a sense of expansiveness and by means of collage and photo transfer. To to as “extensive spiritual contemplation.” The grace. In Galiano’s painting “Evergreen,” the first group belong the series she calls faces of people prominent in his emotional cool green and blue hues merge with areas “Going Home,” in which vigorously piled and psychological life merge in some of of yellow and clouds of white spattered with on pigment creates an active surface in both Kaminski’s compositions with diverse forms, stipples of blue and stripe patterns, filling the sky and the landscape below. In one objects, and fantastic figures. In “Ariana’s the entire picture space with a sense of lively such work, a winding road carries the eye Escape,” a young woman with intricately incident. By contrast in Galiano’s “In the homeward between vigorously brushed feathered angel wings grins blissfully in a Heat of the Night,” fiery reds and oranges ocher fields under a creamy blue sky where spacescape of planets and crystalline towers. predominate and determine the mood, sunlit clouds disperse like fork-stabbed While in “Avery,” a bearded man suggesting overlaid by a whiplash linear calligraphy as eggyolk and dark, scrubby pines thrust a hipster wizard appears like a supernatural swiftly and stylishly spontaneous as that of upward along a vertiginously curved horizon vision amid a maze of glowing cosmic the noted French action painter Georges line. Although O’Shea’s compositions may amusement park lights, smaller floating Mathieu. One of her most lyrical works originate with plein air painting, they are figures ala William Blake, and color areas as this time around, although slightly smaller obviously augmented, either out of doors vibrant as stained glass. than the other canvases on view, is “Fleur or in the studio, with freewheeling flights of Kaminski’s black and white drawing de Rocaille,” in which the composition the imagination. In one of her more eerie “Sex violence and American mandalas” is considerably more spare, with stylized works incorporating photo transfer, “Self with its surreal juxtapositions of imaginary stenciled purple floral forms at the center of Portrait,” the artist’s face, veiled by a verdant floral species with fanciful petals made a variegated field of amorphous green yellow wash of semi transparent paint, is seen in up of chain-saws, phalluses, breasts, and and pink. repose within a hill where wisps of hair rise intestinal coils, some surrounded by wiggling Bonnie Shanas, a sculptor born in New like vegetation against a luminous pale blue spermatozoa, reveals not only the draftsmanly Jersey and raised in Israel who returned to sky. In another such work, a large photo skills underlying Kaminski’s paintings, the United States with her husband and two transfer image of a female face with closed but also both the heights and depths of sons in 2009, gives the unlikely medium of eyes overlays a softer vision of halls and fields, this Bosch-like imagination. However, his wire mesh the supple sensuality of human as though inhabiting a pleasant dream. social concerns come to the forefront in flesh. Renée Weiss Chase, a fashion designer “Evolution of Commercialism,” where “As a student of psychology and an as well as a sculptor shows how clothes can consumer symbols such as Coca Cola and enthusiast of human nature,” Shanas says, “make the woman” by sculpting empty Disney logos are intricately interwoven with “I have always been intrigued by underlying dresses in clay that give the illusion of being his characteristically surreal visions.