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FINE FEBRUARY/MARCH 2011 www.galleryandstudiomagazine.com VOL. 13 NO. 3 New York ARTS GALLERY STUDIO Announces the release of Robert Cenedella’s serigraph & “HEINZ 57” 35”x24” , 2011 A DAUMIER OF THE ROTOGRAVURE Hand screened on acid-free stock, signed and numbered by the artist Denys Wortman at the Museum of the City of New York (Certificate of authenticity is available upon request) STUDIO 57 currently represents: Calder Picasso Dali Cenedella Miro Hirschfeld Levine Grosz Gropper Cadmus Benton Pissaro Bellows Renoir Duchamp Landeck Agam Chagal Sloan Wa rh o l “HEINZ 57” by Robert Cenedella 35”x24” TO COME DOWN ON YOUR PRICES. TO COME DOWN BUY THEM, YOU’LL HAVE IF I HAVE August 30, 1948 Grease pencil, graphite and ink Courtesy of The Center For Cartoon VIII Studies and Denys Wortman plus Sleeping with my Uncle: Coming of Age on the Lower East Side in the '50s Studio 57 Fine Arts Custom Framing 211 West 57th Street New York, NY 10013 212–956–9395 from Ed McCormack’s memoir in progress HOODLUM HEART page 8 Beverly A. Smith Tip Toe Marsh - oil on canvas 24"wide X 36" high Toe Tip March 1st – 19th, 2011 Reception: Friday, March 5th 3-6 PM © Susannah Virginia Griffin - The Warrior 48” x 36” New Century Artist Gallery 530 West 25th, New York Hours: Tues - Sat 10 AM - 6 PM www.beverlyasmith.com Artist seeks gallery representation – [email protected] Wally Gilbert “Geometric Series: SINGULAR SENSATIONS Squares, Triangles, and Lines” Masoud Abedi Jorge Berlato Susannah Virginia Griffin Jenny Medved MORPHING INTO MILIEU Francisco Chediak René Foster Maria José Royuela Maricela Sanchez March 1 - March 22, 2011 Reception: Thursday, March 3, 2011 6-8 pm "Triangles # 2-10," image is 38" x 40" on 44" 36" luster paper. "Triangles March 1 to March 19, 2011 Reception: Saturday, March 5th, 4 - 7 PM 530 West 25th St., Chelsea, New York 212-226-4151 Fax: 212-966-4380 VIRIDIAN ARTISTS, INC. www.Agora-Gallery.com 530 West 25th Street, NYC 10001 212-414-4040 Tues.-Sat. 12-6 [email protected] [email protected] www.viridianartistists.com GALLERY&STUDIO FEBRUARY/MARCH 2011 JESSICA FROMM DRAWING January 18 - February 12, 2011 NOHO GALLERY 530 West 25th Street 4th floor New York, NY 10001 212.367.7063 Tues - Sat 11-6 Untitled #15 19" x 12" Paul M. Cote, G&S pg. 28 Highlights On the Cover: Denys Wortman, a master draftsman who worked in the popular press, finally gets his museum moment. page 16 Cover your ears: The latest excerpt of Hoodlum Heart takes us back to the pre-gentrified Lower East Side in the 1950s, before anybody ever heard of political correctness. page 8 Deborah Sudran, pg. 21 Norman Perlmutter, pg. 5 Bob Cenedella, pg. 24 Stephen Hall, pg. 27 Beverly A. Smith, pg. 23 Subscribe to GALLERY&STUDIO GALLERY&STUDIO An International Art Journal $25 Subscription $20 for additional Gift Subscription $47 International $5 Back Issues PUBLISHED BY Mail check or Money Order to: ©EYE LEVEL, LTD. 2011 GALLERY&STUDIO ALL RIGHTS RESERVED 217 East 85th St., PMB 228, New York, NY 10028 Phone: 212-861-6814 217 East 85th Street, PMB 228, New York, NY 10028 (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 CONTRIBUTING EDITOR Maureen Flynn City www.galleryandstudiomagazine.com State/Zip 2 GALLERY&STUDIO FEBRUARY/MARCH 2011 Chamberlain and Leslie at Allan Stone: Small works by Big Guns his show of collages by John collages as tiny as postage stamps which TChamberlain (whose only possible had the impact of billboards, due to his rival for the heavy metal crown of Greatest unique apportionment of space, flawless Abstract Expressionist Sculptor was David sense of scale, and characteristic bright Smith) and Alfred Leslie, one of the boldest stripes of color. second-generation New York School painters, Allan Stone put it best in his catalog was your proverbial “match made in heaven.” essay for a solo show of Leslie’s work Both men usually worked on a large scale, from 1951 to 1965, when he wrote, and Leslie, the younger and lesser known of “Alfred Leslie may have been not the two, was probably especially impatient so much in touch with as actually with anything small, being ambitious and embodying the zeitgeist of that time.” eager to make his mark. But if the staples he Chamberlain’s collages and mixed used in his collages in lieu of glue started media drawings, on the other hand, out in haste, they ended up becoming an have a speedy gestural violence expressive element of his compositions, suggesting the demolition derby mood emphasizing the raw vitality of his process- of his sculptures Even when he restricts oriented style. They look so great, like the himself to the usually light and lyrical stitches on the Frankenstein monster’s scars, medium of watercolor in one untitled holding together the raw materials of works drawing from 1958, he chooses a single that are at once as sumptuous as a strawberry red hue that gives the visceral effect of John Chamberlain, Untitled, 1961 sundae and funky as a junkyard dog. blood-soaked gauze. But there is also Chamberlain also eschewed glue for staples an innate elegance to Chamberlain’s in at least one untitled piece, created with draftsmanship, very much like that of de torn fragments of sketchbook pages (some Kooning, as seen to special advantage with the spiral holes showing) and bits of in an untitled drawing from the same colored paper. And he didn’t bother with year, where his graphite line glides over titles either, even in a 1961 mixed media the paper with a figure skater’s grace, relief as complexly convoluted as one of his evoking bulky contours with paradoxical famous crushed car sculptures in miniature. delicacy. Used to thinking big, neither artist Then again, Chamberlain has always bothered to title any of these smaller pieces, been the poet of fender bending, probably little realizing how highly posterity his work possessed of an exquisite would someday regard things they might refinement of his own making, despite have considered chotchkas, that fell from the banged up scrap metal with which them as casually as leaves from a tree. he epitomizes Yeats’ lovely phrase “ a Big, after all, was in back then. But in fact terrible beauty.” And it seemed a stroke nothing in this show actually looked small, of genius on the part of Claudia Stone, even when it was little more than a half foot Allan’s heir, to pair him here with the square, like Leslie’s “Untitled, 1960,” which relative upstart Alfred Leslie, perhaps Alfred Leslie, Untitled, 1960 actually comes across as huge, given the the only figure of the second generation smack-you-in-the-eye brilliance of its succulent whose transpositions of scale would not Alfred Leslie and John Chamberlain chunks of blue and red set off by a single thick have been dwarfed by the rugged seen recently at Allan Stone Gallery, black Zen brushstroke. In fact, although they massiveness of his vision. 113 East 90th Street were not on view here, Leslie made some –– Ed McCormack Memories Linger On A Photography Exhibit Catharine Lorillard Wolfe January 26 - February 13, 2011 Art Club, Inc. Curated by Janice Wood Wetzel and Deena Weintraub Opening reception: Saturday, January 29, 2011, 2:30-5:30 PM Annual Members’ Exhibition 2011 Closing reception: Sunday, February 13, 2011, 2:30-5:30 PM The Salmagundi Art Club Calvin Eagle • Dan Gelb • Jonathan Morrison • Barry Pinchefsky 47 Fifth Ave, NYC Jean Prytyskacz • Carolyn Reus • Amy Rosenfeld • David Ruskin Deena Weintraub • Janice Wood Wetzel • Ellen Zaroff March 20 - April 1, 2011 Hours: Mon.-Fri. 1-6 pm; Sat.& Sun. 1-5 pm Broadway Mall Community Center Broadway@96St. (NYC) Center Island Reception & Awards: Gallery Hours: Wed 6-8pm, Sat/Sun. 12-6 pm Friday, March 25th, 6-8 pm [email protected] 212-316-6024 www.wsacny.org FEBRUARY/MARCH 2011 GALLERY&STUDIO 3 Norman Perlmutter: Homage to the Box “ ith my art I endeavor to create a stripes, arranged flatly on the picture plane in Perlmutter, who was trained in architecture Wconsciousness of the ordinary,” states a manner that calls one’s attention primarily and graphic arts, also constructs modular Norman Perlmutter, a New Jersey artist to the chromatic frisson set off by the slight wall reliefs, such as “Gift Boxes,” in which who has defied the contemporary tendency variations in value between the different eight separate panels are irregularly stacked to put the cart before the horse, showing rectangles, is so innately formal, so abstract in the manner of a shaped canvas. Here, sporadically, mostly in regional group and that one might almost mistake the painting the different colored stripes of the painted juried shows, while perfecting his paintings for a Rothko. On learning the title of the “wrapping paper” not only provoke a in relative obscurity for several years. Thus composition, however, the viewer realizes trompe-l’oeil effect but also create a lively Perlmutter’s recent New York City solo that what he or she is looking at is actually sense of optical disjunction, as in some of debut presented an occasion Sean Scully’s “bar” to contemplate the wisdom paintings on joined of honing one’s oeuvre in panels. private, before entering the Among highly competitive fray of Perlmutter’s most the Manhattan art scene. dynamic paintings, For here is a painter whose however, are the work overall is characterized large acrylics on by an exquisite restraint that canvas, “Stack of has paid off in paintings Boxes” and “Pile possessed of impressive of Boxes.” Both integrity and authentic compositions presence.
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