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“Beat Memories: the Photographs of Allen Ginsberg” at Grey Art Gallery, NYU Pg

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“Beat Memories: the Photographs of Allen Ginsberg” at Grey Art Gallery, NYU Pg FEBRUARY–MARCH 2013 www.galleryandstudiomagazine.com VOL. 15 NO. 3 New York GALLERYSTUDIO “Beat Memories: The Photographs of Allen Ginsberg” at Grey Art Gallery, NYU pg. 7 1955, Gelatin silver print, printed 1984–97, 9 7/8 x 14 7/8 in. (24.9 x 38 cm), National Gallery of Art, Gift of Gary S. Davis © 2012 The Allen Ginsberg LLC. All rights reserved. TRIAD a new excerpt from Ed McCormack’s HOODLUM HEART pg. 14 (50$0$57,1<267 )HOWHG)LHOGV &ĞďƌƵĂƌLJϳͲ&ĞďƌƵĂƌLJϮϳ͕ϮϬϭϯ KƉĞŶŝŶŐZĞĐĞƉƟŽŶ͗dŚƵƌƐĚĂLJ͕&ĞďƌƵĂƌLJϳ͕ϲͲϴƉŵ +DQGIHOWHGDQG6WLWFKHG&RQVWUXFWLRQV ³)LUHÀ\)LHOG´ )HEUXDU\0DUFK 5HFHSWLRQ6DWXUGD\)HEUXDU\SP :HVWWK6W1<& 7XHV6DWSP ZZZQRKRJDOOHU\FRP © Jerry Anderson - Angel with Red Cloud 1 Acrylic on Canvas 30” x 15” © Jerry Anderson - Angel with Red Cloud 1 Acrylic 30” on Canvas ƐĐŽƚŽ͘ĂƌƌĂƌĂZŝĐŚĂƌĚĞůůŽDŝĐŚĂĞůŽǁĚƌŽLJ<ƌnjŝƐͲ>ŽƌĞŶƚ&ƌĠĚĠƌŝƋƵĞ< :ĞƌƌLJŶĚĞƌƐŽŶEŝĐŬƌĐŝĞƌŽEĂnjŝŬƐůĂŶLJĂŶ:ĞŶŽǁůĞƐ tĂƌƌĞŶZDĂĐŬ'ĂďƌŝĞůĞDĂƵƌƵƐŵŵĂŶƵĞůůĞZŝǀĂƌĚ:ĂĚĞZŽƵŐĞƌŝĞ 530 West 25th Street, New York 212-226-4151 Fax: 212-966-4380 www.Agora-Gallery.com [email protected] GALLERYSTUDIO FEBRUARY/MARCH 2013 “Winter Warm-Up” Showcases Several Artists ail Comes, one of the artists featured lightly sketched on toned paper in pencil and compositions from elements of realism. Gin this catchily titled show, has a strong charcoal by the artist known simply as Zelda Then there is Lucinda Prince, whose two figurative style with sometimes surreal could also suggest subjects dating back to the paintings from her “Winter Trees” series, one overtones. Here, she is represented by the classical past. For in “A Tale of Two Men,” with snow piled on its bare branches, have a oil on canvas “Dancing with the Tiger,” in and two other drawings, Zelda displays shimmering beauty. Prince creates the effect which two mysterious, expressively delineated an almost old masterly ability to capture of clear winter sunlight on natural surfaces by hands emerge from the bottom of the character in a few sure, sensitive lines. streaking her still-wet oil pigments to create composition to merge two masklike faces that Another, more semi-abstract sense of vertical streaks that also lend formal ballast to fuse into one of those anatomical anomalies character comes across in Carole Barlowe’s her compositions. that Comes fashions so artfully. acrylic on canvas “Ms. Subway.” Riffing on Richard Carlson’s vertically stacked Margo Mead’s recent figurative works in the Miss Subways beauty contest that once yet horizontal diptych “Winter Storm watercolor and crayon on rice paper revolve adorned MTA cars, only the pale face, hands, / Scarves” is one of this consummately around classically simplified figures with and legs of Barlowe’s pretty passenger emerge subtle abstractionist’s subtlest works a powerful presence in symbolic settings, from an overall field of bright pink on which to date, with his omnipresent grid and as seen in “Global Warm-Up,” where the her torso is simply outlined in an electric line columns of newsprint all but submerged by earth takes on the appearance of a shrinking with Matisse-like economy. semitranslucent overall whitewash tinged, swimming pool beset by a huge sun-flash. A landscape by Artur Pashkov might better here and there, with faint tints of pink. Like There are strong messages in Mead’s be described as a “moonscape” in which those of Agnes Martin, perhaps his closest pictures, but she presents them with a wit and intricate, rhythmic, waves of iridescent color aesthetic ancestor, at his most abstract formal appeal that transcends the aesthetic swirl out from two tiny lunar orbs. Pashkov Carlson’s compositions invariably reward limitations of most social realism. further enhances the visionary quality of close scrutiny. Jeanne Claire Allen’s acrylic painting this atmospheric little oil on canvas by Another abstract painter, Meg Boe Birns “Joyful Times” depicts people in archaic surrounding it in a frame thickly encrusted is a maximalist in terms of texture, color, and formal dress –– the men sporting top hats, with cultured pearls and other costume composition. Birns’ mixed media and acrylic the women in long gowns –– on an airy jewelry. on canvas, “The Magician’s Girl,” with its verandah where beams of sunlight stream in Ava Schonberg displays a creamy thickly encrusted and bejeweled surface from the green impressionist landscape just painterliness and a sense of space akin to featuring intricate squares of alizarin crimson, beyond. As the title indicates, Allen’s scene Wayne Thiebaud in two acrylic paintings blue, and gold, is a baroque tactile and projects a poignant sense of nostalgia, as if the of beachscapes. In one, of Fire Island, Continued on page 23 figures are frozen in memory of a joy long in striped umbrellas enliven a vista of sky, sea, the past. and sand; in another of Knokke, a Belgian Curated by Carole Barlowe “Winter Warm- Although they could very well be seaside resort, a row of small changing cabins Up,” was recently seen at Broadway Mall contemporary portraits, the bearded faces lines the shore creating a serene abstract Community Center, 96th St. (center island). Harriet FeBland 5L^*VUZ[Y\J[PVUZ “Homage” 4(9*/ 74;<,:-90 5(;065(3(::6*0(;065 6->64,5(9;0:;:.(33,9@ -0-;/(=,5<,:<0;,(;;/:;5,>@692 ¸)PVNYHWO`¸WHPU[LK^VVKYLSPLM__ + FEBRUARY/MARCH 2013 GALLERYSTUDIO 1 Christine Sellman and the Character of an Authentic Gesture nce our stereotype of Australian painting was the rough and Oready yet slyly sophisticated folkloric faux-primitivism of Sidney Nolan, one of the country’s most famous artists. But in actual fact there are all manner of innovative painters at work today in Australia, G S where one of the most impressive exponents of what Clement Greenberg once chauvinistically termed “American-Type Painting” is Christine Sellman. Highlights Although she started out as a figurative artist, Sellman, who has been widely exhibited in galleries in Melbourne, Victoria, Hong Kong, Los Angeles, and Cologne, eventually found more freedom in a spontaneous gestural style that springs from Abstract Expressionism. On the Cover: Working in acrylic on canvas, she creates large, vigorous compositions Beat legend Allen Ginsberg’s photographs, marked by improvisation. She eschews the limitations of a so-called annotated with hand-scrolled prosody, are “signature style,” preferring to let each painting dictate its own forms a tribute to his early inspiration, William and colors. Yet Blake’s illuminated manuscripts. –Page 7 an overriding consistency comes across in her work, given the distinctive character of her painterly “handwriting.” This can be seen by comparing even ostensibly disparate large canvases that vary greatly in color and form, such as “Eye Kanevsky, pg. 4 of the Storm” and “Summer Blaze.” In the “Hearts of Love” former work yellow and blue hues dominate and the shapes are shard-like –– almost like the jagged fragments of Clyfford Still –– and are closely clustered in a vertical composition, covering the entire surface of the canvas. The latter painting, however, is a horizontal composition, with most of the larger forms in red and yellow, centrally located on a subtly modulated light-colored field. Here, too, Sellman employs a spatter technique, splashing dark dots and drips over the mass of reds and Yost, pg. 21 yellows. While “Eye of the Storm” suggests a nocturnal hurricane and “Summer Blaze” evokes a sense of daylight heat, both are possessed of an identifying gestural thrust that appears to emanate directly from the artist’s nervous system. Perhaps diverse elements converge most harmoniously in another large canvas by Sellman called “Whimsical Flight,” in which she combines vibrant yellow hues with darkly spattered spots that appear to fly up like charred embers from a flame amid sinuous strokes of variegated purplish hues enlivening the bottom of the canvas. By contrast, Sellman comes closest to literal scenic description without FeBland, pg. 11 crossing the line into realism in the atmospherically evocative large canvas entitled “City Nights.” For without verging on fussy specifics, this poetic abstraction in a horizontal format, with its palette of deep blues and brilliant yellows, conjures up a panoramic vista of bridges, highways, darkly looming buildings, bright lights and all the vast mystery of a modern metropolis. Also allusive after a more totally abstract manner is “Hearts of Continued on page 23 Christine Sellman, Agora Gallery, 530 West 25th Street, February 7 – 27, 2013 Morrison, pg. 20 FrédériqueK, pg. 6 Reception: Thursday, February 7, 6 – 8pm 2 GALLERYSTUDIO FEBRUARY/MARCH 2013 Contemporary Landscape Painting at New Century “ lein Air,” the French term for painting strokes of compositions such as his “The brightly peopled beachscape,”Naples Pier.” Pdone outdoors from nature is the Dock, Sunrise in the Fog,” still show a with gracefully floating clouds above to the subject of “Far and Near Horizons,” the strong allegiance to the Impressionists softly atmospheric panorama “Morning latest group exhibition curated by Basha and Pointillists of his native country. Fog, Monterey California.” Maryanska, revealing several international However, Cardot’s circular composition, The Brazilian painter Sandra Nunes approaches to a timeless theme. “In the Water,” depicting a craggy tree often brings the color and bustling Debra Joy Groesser, who was born trunk partially submerged in water, has excitement of her native city, Rio de in England but has lived in Nebraska a visionary quality akin to the American Janeiro, alive in oils, charcoal, or soft since 1970 warmly embraces
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