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Wallace Berman, Self-Portrait, Topanga Canyon, 1974 Topanga Berman, Self-Portrait, Wallace (Printed 2004), Gelatin Silver Print, 16 X 20 In

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Wallace Berman, Self-Portrait, Topanga Canyon, 1974 Topanga Berman, Self-Portrait, Wallace (Printed 2004), Gelatin Silver Print, 16 X 20 In NGOV-DECA2006/JLLAN 2007 Ewww.galleryandstudiomagazine.comRY&ST U VOL. 9D NO. 2 I NewO York The World of the Working Artist B N WALLACE ERMA THE GREAT UNKNOWN a bohemian rhapsody by Ed McCormack page 18 Wallace Berman, Self-Portrait, Topanga Canyon, 1974 Topanga Berman, Self-Portrait, Wallace (printed 2004), Gelatin silver print, 16 x 20 in. Berman Estate Courtesy Wallace Bruce A. Dumas “Spell Bound” 16"x20" Acrylic on canvas November 30, 2006-January 13, 2007 Patrick’s Fine Art 21 East 62nd Street, New York, NY 10021 By appointment: 917-743-9704 or 212-591-1918 THE BROOME STREET GALLERY Ground floor, 1,300 sq. ft. Exhibition space rental available 498 Broome Street, New York, NY 10013 Tel: (212) 941-0130 GALLERY&STUDIO NOV-DEC 2006/JAN 2007 Nancy Staub Laughlin Pastels and Photographs January 9 - February 17, 2007 530 West 25th St., 4th Fl. NYC, 10001 Tues - Sat 11 - 6pm 212 367 7063 Sun. by appt. www.nohogallery.com Catalog available at the show, with introduction by Art Critic and Historian Sam Hunter. For more information please visit www.nancystaublaughlin.com “Pink Diamond and Sequin” 36" x 27" G&S Truman Marquez, page 4 Highlights On the Cover: An underground legend in Venice, California, in the late 1950s, Wallace Berman was a magnet for serious artists, errant movie stars and “bedbug beatniks.” “SEMINA CULTURE: Nancy Staub Laughlin, page 25 Wallace Berman & His Circle” coming to N.Y.U.’s Grey Gallery in January, positions him as a precursor of postmodernism.–Page 18 SM Lewis, page 34 David Tobey, page 28 Sheila Finnigan, page 9 Personal Belongings, page 11 Drew Tal, page 32 Phyllis Smith, page 33 Peg McCreary, Bruce A. Dumas, page 35 Patrick Antonelle, page 36 page 13 TM GALLERY&STUDIO Subscribe to An International Art Journal GALLERY&STUDIO PUBLISHED BY $22 Subscription $18 for additional Gift Subscription $44 International © EYE LEVEL, LTD. 2006 Mail check or Money Order to: ALL RIGHTS RESERVED GALLERY&STUDIO 217 East 85th Street, PMB 228, New York, NY 10028 217 East 85th St., PMB 228, New York, NY 10028 Phone: 212-861-6814 (212) 861-6814 E-mail: [email protected] Name EDITOR AND PUBLISHER Jeannie McCormack MANAGING EDITOR Ed McCormack Address SPECIAL EDITORIAL ADVISOR Margot Palmer-Poroner DESIGN AND PRODUCTION Karen Mullen City CONTRIBUTING EDITOR Maureen Flynn www.galleryandstudiomagazine.com State/Zip 2 GALLERY&STUDIO NOV-DEC 2006/JAN 2007 Jeanne Butler’s “White Works” Achieve an Exquisite Synthesis “ he absence of color in gossamer fabric, disrupting Tthe work of the the silence and serenity of majority of artists included the composition with their in this book is one indica- sudden stridency. tion of the poverty of con- Tactile qualities play an temporary color theory,” even more prominent role writes Alan Sondheim in in “White 10:87,” where Individuals: Post-Modern the warp of the fiber runs Art in America. “Color is horizontally along the bot- apparently used today in the tom of the composition like following ways: A. As local waves in a colorless sea. color, useful for differentiat- Above, eight precise linear ing one sculptural or picto- divisions, like multiple hori- rial plane from another. B. zons in a metaphysical land- As conveying basic conno- scape, are intersected by tations––red for ‘danger,’ finer white-on-white vertical and so forth. C. The easy striations, suggesting the colors of contemporary “white rain” of the show painting. D. The harsh or title. muted colors of magazine In other compositions, and television advertising.” such as “White 10: 65” and “White 10:66,” finely Color theory or its sup- drawn grids, floating on or posed absence, however, within white fields, play host would appear to have little to delicate calligraphic to do with the work that strokes. The assured, spare, Jeanne Butler has been grace of these strokes sug- focusing most of her atten- gests a sympathetic kinship tion for the past decade, with the literati Chinese ink predominantly in white, an painting, which also achromatic entity for which eschewed all the blandish- even the Oxford American “White 10: 135” ments of color in favor of a Dictionary of Current light as air sculptures created with a loom pure synthesis of line, tone, English can supply only the most inade- and linen thread or Agnes Martin’s earliest and space. Indeed, like those ancient mas- quate of primary definitions: “1. resembling grid paintings (which Eleanor Munro once ters, albeit in a more abstract mode, Butler a surface reflecting sunlight without absorb- pointed out “were all near-literal renditions is influenced “by landscape and personal ing any of the visible rays.” of woven textiles with warp and woof clearly spiritual reflection” and sees spatial spareness While admitting that she is “still attracted delineated”). Butler’s work can be com- as a compositional element that “conveys to color,” Butler predicts that she will con- pared to Tawney’s for her ability to elevate oxygen and infinity.” tinue to resist being seduced by it for some textile materials to aesthetic realms far Evolving logically from the work that time to come, and the wisdom of her absti- beyond their craft origins, and to Martin’s she did after earning her BFA from CW nence is evident in her exhibition “White for a compositional austerity that is often Post College of Long Island University in Rain,” at Noho Gallery, 530 West 25th centered on a spare graphite grid. Butler, 1976––which involved the layering of hand- Street, from November 7 through 25. however, has developed her own subtle made papers and cheesecloth, along with oil (Reception for the artist on November 11, graphic vocabulary, in which fine lines are paint and graphite––as well as from her early from 4 to 6 PM.) just as likely to be created with thread as experiments with more coloristically cen- One of the indications of Butler’s origi- with graphite, resulting in a kind of trompe tered quilting techniques, Butler’s recent nality is that one will search in vain for a l’oeil interplay between sewn and drawn ele- “white works,” as she refers to them, are contemporary context in which to precisely ments, which I remarked upon in a previous important on two levels simultaneously. For locate her work. For while stating that fiber review but also bears mentioning here. not only do these pieces address certain is now the “foundation” of her art she com- Within this personal vocabulary, Butler principles of restraint and exquisiteness more bines quilting and appliqué with oil paint achieves a subtle variety of effects, as seen in prevalent in Asian aesthetics from a distinctly and graphite in a variegated mixed media “White 10: 135,” where a concentration of Western perspective; they also advance the technique. Thus one cannot strictly classify uneven vertical strokes, apparently drawn fiber art movement more firmly into the her as a textile artist or associate her work with graphite toward the lower center of the postmodern mainstream, by virtue of their too closely with the priorities of those con- composition, is muted under a semi-translu- highly original synthesis of sewing, drawing, temporary women artists who adopt materi- cent white square. Painted onto the fine, and painting. als used in traditional women’s crafts to subtly textured weave of the white appliqué, All of which suggests that Jeanne Butler’s make a feminist statement. or overlay, are a row of short, evenly spaced work is having a positive political affect after Although she certainly has to be aware of gray vertical units, which are interrupted all, even as she applies herself most diligently the political implications inherent in her near the end by one raw vertical graphite to exploring the innate riches of her singular choice of materials, Butler’s concerns appear gesture laid down impetuously on the outer sensibility. primarily formal in a manner more related layer, as though some of the underlying to Lenore Tawney’s physically imposing yet graphite elements have slashed through the ––Ed McCormack NOV-DEC 2006/JAN 2007 GALLERY&STUDIO 3 Moral Courage and Ambitious Scale Mark the Art of Truman Marquez “Severed Voting Fingers Cast a Shadow Over Doubt” hen I placed a call recently to Austin, emotions choose to lead him. The mixed one’s artistic vocation. And now, half a WTexas, and asked Truman Marquez reception that greeted Marquez’s painting decade later, when it is possible to view the how the work he would be showing in his “Eleven,” created and exhibited shortly after painting from a slightly more rational dis- upcoming solo exhibition at The New Art the terrorist attack on the World Trade tance, rather than with the raw emotions Center was coming along, the painter Center in 2001, is a case in point. Although that prevailed in the immediate aftermath of chuckled and replied in that good ol’ boy many were moved by this mural-scale oil on 9/11, Truman Marquez’s moral courage is drawl of his, “Well, we’ll have to see what canvas, juxtaposing an inverted image of the vindicated. For it is clear, above all, that you folks in New York have to say about it.” Twin Towers, a demonic likeness of Osama “Eleven,” with its powerful composition, One couldn’t blame him for sounding Bin Laden, and an approaching aircraft, built around two of the pregnant circular wary, given the unwarranted snobbery and others condemned it as though it were an shapes that often provide the abstract thrust outright chauvinism that the New York art endorsement of terrorism and sent the artist of Marquez’s compositions, is an enduring crowd often shows toward artists from other hate mail.
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