Andy Warhol at the Metropolitan Museum: All Galleries Lead to the Gift Shop Pg

NOV.–DEC. 2012/JAN. 2013 www.galleryandstudiomagazine.com VOL. 15 NO. 2 New York GALLERYSTUDIO Andy Warhol at the Metropolitan Museum: All Galleries Lead to the Gift Shop pg. 14 tists nstitute Andy Warhol (American, 1928–1987) Self-Portrait, 1967 AcrylicAndy Warhol and silkscreen on canvas 72 x in. (182.9 182.9 cm) Detroit I of Arts, Arts, Founders Society Purchase, Inc. / Ar Foundation for the Visual Friends of Modern Art Fund © 2012 The Andy Warhol Rights Society (ARS), New York Fran Lebowitz: The Girl Can’t Type! a new excerpt from Ed McCormack’s HOODLUM HEART pg. 10 '$*+2/ 0DJLFDO/DQGVFDSHV

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GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013

Anne Bachelier Illuminates the Spirit of a Nineteenth Century nne Bachelier and AEdgar Allan Poe! ... As soon as one learns that gallerist and collector Neil Zukerman’s most ethereal art star has teamed up with that immortal master of the macabre, it seems clearly a match made in one of the nether regions of Heaven. For what living visual artist could possibly be better suited to illuminate the words of the haunted American writer who once said “The death of a beautiful woman is the most poetical topic in the world” than the retiring French painter of wraithlike ingenues who personify the Victorian ideal of “pale “tubercular” beauty? The occasion for this auspicious marriage is “13 Plus One By Edgar Allan Poe,” a profusely illustrated volume about to be released “Annabel Lee” “The Black-Cat” in both a standard edition and a Deluxe Collector’s Edition prepubescent infatuation at a seaside resort investigating her disappearance, hear another by Zukerman’s publishing company, CFM with a girl named “Annabel.” And that the one-eyed cat, with which he had replaced the Gallery Books. Bachelier’s abilities as one of first nineteenth century American poet and one he killed, wailing inside the wall. It turns the few contemporary colorists capable of short story writer to attempt to survive solely out he inadvertently buried it alive along with approaching the Old Masters for evoking by his writing continues to exert a wide the corpse of his wife. subtle chromatic qualities were made manifest cultural impact is heard in poet and art rocker Although Aubrey Beardsley made a in her previous illustrations for the same Lou Reed’s tribute to him, an entire album of famous illustration for this story, Bachelier imprint, most particularly those for Gaston songs entitled “The Raven.”) surpasses its merely decorative art nouveau Leroux’s gothic classic “The Phantom of For “Annabel Lee,” Bachelier evokes appeal with an image more spookily worthy the Opera,” where she evoked the opulent the setting of a “kingdom by the sea” in of Poe’s harrowing tale. setting of the Paris Opera House –– its sweep bravura fashion, with just the most exquisite Contrastingly lovely, if also supernatural, and grandeur, as well as its shadowy eaves painterly suggestion of shadowy spires rising is Bachelier’s illustration for “Eulalie” yet –– with such breathtaking skill. Her line and amid moonlit mists, turbulent white waves, another Poe eulogy for a beautiful woman her colors were a bit lighter and brighter in and the cloud out of which covetous angels gone too young to the grave. Although Poe her illustrations for “Alice’s Adventures in “not half so happy in Heaven” sent down a does not make her demise as explicit in the Wonderland,” as befit Lewis Carroll’s more cold wind, “chilling and killing” and chilling finished text as he does in Annabel Lee,” fanciful prose style and whimsical characters, the narrator’s star-crossed sweetheart. In he scrawled the phrase “Deep in Earth” on yet her interpretation of the text was every bit the lower right area of the composition, we the original manuscript page. And Bachelier as stunningly on the mark. see the girl in her long white gown, already makes it crystal clear in her image of a For the present volume, however, in brilliantly, spectrally oblivious, as her grieving ravishing ivory-skinned nude with tresses keeping with Poe’s dark vision, Bachelier suitor reaches out for her hopelessly in the showering in luminous ripples of “humble has chosen to create oils on panel in black all-pervasive gloom. Already there is nought and careless curl” beyond her slender and white grisaille, substituting for her usual for him to do but lie with her nightly in the shoulders, as she stands like a cold ivory radiant hues a plethora of subtle monotones necrophile’s marriage bed of her tomb by statue in the portal of her skull-canopied and dramatic chiaroscuro effects that fully the sea. tomb. complement his melancholy magic. Next comes “The Black Cat,” Poe’s For “The Raven” (along with “Annabel The volume opens with Poe’s best terrifying horror story about an alcoholic Lee,” one of Poe’s best-known poems), known and most tragic romantic poem, whose love for a pet feline takes a perverse Bachelier embodies the sheer terror of the “Annabel Lee.” Some believe this syncopated turn, causing him to gouge out one of the verse in a monstrous avian figure –– More masterpiece about the loss of an early love animal’s eyes with a penknife in a drunken frightfully formidable than any of the birds was prompted by the death, two years rage and later hang it by the neck from a tree of prey in Leonard Baskin’s “Raptors” series. before it was written, of Poe’s wife Virginia, in his garden. Through a complex chain of Hovering midair in moonlight that reflects whom he had married when he was twenty- such circuitous circumstances as Poe alone off the glistening black impasto which gives six and she thirteen. ( In fact, the poem could plot, he ends up killing his wife and palpable weight and depth to its feathers, inspired Vladimir Nabokov’s novel “Lolita,” cementing her body into a cellar wall of the frightful creature dwarfs Poe’s harried whose pedophile protagonist’s lifelong a new house he moves into after the first narrator, as he shields his eyes with one hand obsession with “nymphets” was stirred by a one mysteriously burns down. The police, and with the other attempts to wave it away.

2 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 Gothic Master in a New Volume from CFM Gallery Books accomplice. Her drawings and narrative paintings –– as the monochromatic oils in this volume can only properly be described –– not only thoroughly and thoughtfully translate the spirit of Poe into visual terms, but faithfully capture the spirit and setting of each specific story or poem. For example, for “William Wilson #2,” the story of a man of noble descent who has been plagued since his school days by a “double” who shares even his name (in which Poe can be said to have anticipated the modern problem of “identity theft” in his own peculiar manner), Bachelier depicts the climatic moment when Wilson finally confronts his namesake and nemesis at a ball, before dragging him into an antechamber and stabbing him to death –– only to later be “Eulalie” “William Wilson #2” haunted at the man’s bloodied image in his mirror. Here, finally, is the visual complement for painting or sculpture, which she undertakes Also including Bachelier’s illustrations which this immortal work has long been in the spirit of equal collaboration with her for stories and poems such as “Hop-Frog,” pining. close friend and publisher Neil Zukerman. “Lenore,” “The Mask of the Red Death,” Here, as always, Anne Bachelier actually Zukerman, whose dynamic designs “Spirits of the Dead,” “Tamerlane,” interprets the texts that inspire her, rather invariably return the favor by respecting “The Tell-Tale Heart,” Ulalume,” and merely than exploiting them as a platform and complementing her pictures, seems “Epimanes,” this is arguably the most lavish for showcasing her own style and sensibility, singlehandedly dedicated to restoring and handsome edition of any work by Poe as all too many fine artists do when they the stature that the illustrated book once ever printed. condescend to work in book form today enjoyed among grownups, as well as younger –– Ed McCormack –– and even as many full-time illustrators do, readers. And in Bachelier, an artist with a for that matter, in an era when picture books natural humility to match her genius (a rare geared to adult readers have become precious combination, for sure, in an age of runaway Artist’s book signing: rare. It is clear from her visual storytelling egos!), which enables her to enter into a November 8, 2012, 4:30 - 8:30pm that she does not consider illustration a minor full collaboration with the author as well, CFM Gallery, 236 West 27th St., 4th floor art form, but a high calling on a par with Zukerman has apparently found the perfect www.cfmgallery.com

/DQG 6HD Free Expression 2012 Curator: Linda Lessner Curator: Sonia Barnett* October 31 - November 18, 2012 November 21-December 9, 2012 Artists in Land & Sea Show: Daniel Boyer • Silvia Soares Boyer • Richard Carlson Daniel C. Boyer • Silvia S. Boyer • Robert Eckel Charles Coates • Linda Lessner* • Pilar Malley Herbert Evans • Jutta Filippelli • Arlene Finger Dammika Ranasinge • Michelle Melo • Lucinda Prince Lula Ladson • Nate Ladson • Leannne Martinson Marie Robison • Deborah Yaffe Emily Rich • Amy Rosenfeld • Anne Rudder

%URDGZD\0DOO&RPPXQLW\&HQWHU %URDGZD\0DOO&RPPXQLW\&HQWHU %URDGZD\#6W 1<& &HQWHU,VODQG %URDGZD\#6W 1<& &HQWHU,VODQG *DOOHU\+RXUV:HGSP6DW6XQSP *DOOHU\+RXUV:HGSP6DW6XQSP [email protected] 212-316-6024 www.wsacny.org [email protected] 212-316-6024 www.wsacny.org

NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 3 Dag Hol, a Norwegian Painter Who Aims High “Along The Borders of Heaven” n the popular imagination, as by the soulful stamp of individual Iexpressed in everything from human consciousness that he places on serious poetry to inspirational ballads the pitiless face of the monolithic rock and love songs such as “Climb Every formation that the Japanese consider a Mountain” and “Ain’t No Mountain sacred site and symbol of their nation. High Enough,” mountains have Hol, on the other hand, sees always been symbols of spiritual or the same mountain, in the manner other aspiration. as all of his inner landscapes, as a “Because it was there!” George psychological and existential symbol. Mallory answered when asked by a Thus he depicts it with expressive, if reporter for the New York Times, in not expressionistic, strokes that, as the 1923, why he had climbed Mount scholars of Chinese art insist, invariably Everest. reveal an artist’s character as clearly In his journal of that expedition, as the site he or she depicts. Hol is Mallory wrote: “Gradually, very obviously in agreement with this view gradually, we saw the great mountain when he states, “I believe that the sides and glaciers and aeries, now one expression of the painting is hidden in fragment and now another, through “Fuji Mountain Moon Crescent” the craftsmanship, in the strokes of the the floating rifts, until far higher in brushes and the palette knife” –– the the sky than imagination had dared dimmed by an atmospheric veil and the sky mention of the latter tool emphasizing to suggest the white summit of Everest darkened as if by night, as the patriarchally- an important differentiation between the appeared.” bearded king and his Viking warriors modes of traditionally Eastern and Western Two years later, Mallory would attempt commune before engaging the enemy in a materials and techniques. to reach that peak once again and die in pastoral landscape that will soon be further For, far more than to the linear quality of the effort. But before he did, he further blackened by blood. Asian art, Hol’s paintings are indebted to the elaborated on what made the effort In Hol’s latest work, however, the events full-bodied realism of the Western classical worthwhile, as follows: “What we get from of men and how they choose to recall and tradition, and related (at least through the this adventure is sheer joy. And joy is, after heroicize their history gives way to the even overriding influence of European masters, all, the end of life. We do not live and eat to grander spectacle of nature unadorned, which ranging from Rembrandt to Turner) to the make money. We eat and make money to be invariably has a way of dwarfing even our Hudson River School and the Luminists able to live. That is what life means and what most grandiose deeds and dreams. whom Andrew Wilton and Tim Barringer life is for.” Indeed Hol’s views of Fuji possess a natural celebrate in their definitive text on Landscape One might say that making art is a magnificence that calls to mind a verse by the Painting in the United States from 1820 to vicarious form of mountain climbing. And immortal sixteenth century Chinese poet Li 1880, “American Sublime.” perhaps for the contemporary painter Po about bidding farewell to an old friend Indeed, Hol’s vibrantly moonlit Fuji views, Dag Hol, already well known in his native embarking on a journey to a place far away with their snowy white (“Fuji Mountain Norway, the metaphor applies more aptly amid rivers and mountains: “The lonely sail Moon Crescent) or volcanically ruddy (“Fuji than for most others, since at least two major in the distance / Vanished at last beyond the Mountain Full Moon) peaks rising out of paintings among the twelve works he will blue sky / And I could see only the river / filmy white mists, possess an atmospheric show in his upcoming solo exhibition at Flowing along the borders of heaven...” majesty that recalls certain mountainous Noho Gallery in Chelsea were inspired by Like Li Po’s poem, Dag Hol’s latest landscapes by Thomas Cole. Hol’s more Mount Fuji, the highest peak in Japan. paintings seem to suggest the ephemeral dynamically close-up contemporary Although he has been exhibiting in quality of human life contrasted with the compositions, however, gain a purer visual Norway since 1983, Hol first attracted eternal power of nature, as expressed by velocity by virtue of being devoid of the tiny widespread attention with his huge historical Tu Fu, another great ancient Chinese poet, human figures that Cole –– like the British painting “The King is Thinking,” 1994, who wrote, “The nation is destroyed, master Turner and certain of the ancient depicting Saint Olav and his army before the mountains and rivers remain / The Asian scroll painters, for that matter –– stick the Battle of Stiklestad, in 1030 A.D. At mountains and rivers had always been there, onto some of their mountainous vistas like 300x600 centimeters reputed to be one of they were there still, they would always incongruous decals that often thwart the the largest figurative paintings in the country, remain.” rhythmic flow of their compositions. this ambitious and detailed work is now And like the Chinese masters of ink and “One comes to bless the absolute permanently installed at Stiklestad Kulturhus, brush painting whose sense of the eternal, bareness, feeling that here is a pure beauty a cultural center near the site of the battle captured on paper or silk scrolls, he translates of form, a kind of ultimate harmony,” the in Trondheim. The painting was originally so fluidly into the more physically palpable aforementioned mountaineer, George commissioned as a private gift and, in what Western medium of oils on canvas, Hol Mallory, said of conquering Everest two years sounds like an act of Dali-like showmanship, imbues that which is mercilessly vast and before it ultimately conquered him. the artist reportedly “painted parts of it while immutable with the poignant suggestion of And it is a towering sense of this awesome dressed in authentic Viking gear, including a subjective human consciousness, however and unforgiving emptiness, at once 13-kilo coat of mail.” fleeting and ephemeral in the grander scheme exhilarating and fearsome, that this supremely Legend has it that the battle of Stiklestad of things. gifted Norwegian painter gives us in his took place during a total eclipsed of the sun. “My paintings are ‘inner landscapes,’ even brilliant new solo show. –– Ed McCormack While this is widely denied by historians, Hol if they can be linked to particular places,” takes the artistic liberty of illuminating his states Dag Hol. And encountering “Fuji Dag Hol, Magical Landscapes, multifigure scene accordingly for dramatic Mountain Full Moon” and “Fuji Mountain Noho Gallery, 530 West 25th Street, effect, with the glow of the red solar orb Moon Crescent,” one is immediately struck November 27 - December 15, 2012. 4 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 With “Divas” and “Dragons,” Kathleen King Expands Her “Flora to Fauna Fables” to New Dimensions or all the fault a cranky Luddite like appear to take on anthropomorphic Fmyself may sometimes find with it, qualities as well. e-mail does bring occasional wonders. I Hovering between abstraction am thinking of the exquisitely beautiful and realism the furling vegetal color pictures my wife’s friend Diana shapes in the composition she calls Mullman recently sent her, with a text “Deciduous Dragon’s Offering,” for that said: “It comes from Central America example, suggest an upright monster and is found from Mexico to Panama. cloaked in an ornate opera cape, as It is quite common in its zone, but it’s it clutches what appears to be a bulb not easy to find because of its transparent sprouting a long-stemmed plant in wings, which is a natural camouflage its claw in a manner as dramatic as mechanism. A butterfly with transparent Hamlet contemplating the skull. wings is rare and beautiful. As delicate as The angle at which its craggy head finely blown glass, the presence of this and rhino-horned snout is thrown rare tropical gem is used by rain forest back, like that of a tenor straining ecologists as an indication of high habitat in the ascent to the highest notes of quality and its demise alerts them of an aria, imbues the strange figure ecological change.” with a comic grandeur that has also Redundancies in the e-mail text aside, long been an integral element of looking at the pictures of the Glasswing King’s work. Adding to the visual Butterfly, as it is called, because its tiny, opulence of the composition, minute translucent wings “shimmer in the red-petaled flowers on thin, sinuous sunlight like polished panes of turquoise, stems shed from the dragon’s crusty orange, green, and red, my first thought, cloak to merge with the intricate as soon as Jeannie showed them to pink, blue, and white linear network me, was, “If this creature didn’t exist, swirling rhythmically around the Kathleen King would have had to invent posturing creature, integrating figure it.” and ground with almost Persian print One might add that King would have intricacy and lushness. had to construct it from scratch with the Equally elaborate is “Natural products of raw nature, as she did for her Fiction Diva,” where the natural newest series of artworks, for which she relationship of showgirls and flowers gathered dried leaves and flowers, barbed comes across in an especially colorful stems, and other detritus of the field and composition, as vivacious and busy forest. Combining these raw materials as a Las Vegas production number. with characteristically inventive aesthetic Here again, the veins of a leaf appear; alchemy in the manner of an artistic Dr. only now not as dragon wings, Frankenstein, she created her latest body however, but as fainter designs in the of work, pointedly entitled “Life After halo-like headdress or tiara crowning Life.” a bodacious botanical configuration Reversing the usual process by which with smaller fronds outstretched sculptors make two-dimensional sketches like graceful arms, perched on an as studies for three-dimensional works organically patterned platform of art, King assembled “models” from “Natural Fiction Diva” amid a shower of tiny, dewy buds, which she made her newest series of large showing through the paint. Sometimes she resembling stage-lights flickering on a blue mixed media compositions and monoprints, goes so far as to further emphasize them with curtain. working from them as if they were nude paint, as seen in the darkening of the veins in Kathleen King gives the admirable people posing in a life drawing class. And the leaves that she used to form the wings of impression of caring little for current art in the same way that another artist might one of her dragon sculptures. As if to put an world trends. One can only compare her include the preliminary sketches for more even finer –– or at very least brighter –– point in this regard to the 1960s art star Lee complex finished works, some of these on the scientific theory that energy never Bontecou, who after rising to become the models are included in King’s solo exhibition dies: it is simply transformed. only woman among Leo Castelli’s prestigious in Chelsea in their fragile natural state; while In her elaborately worked-up mixed media stable of artists in the 1960s, vanished others have been developed as 3-D prints, drawings and monoprints, as well as their voluntarily for thirty years. For like Bontecou, produced via a plastic SLS process, that sculptural counterparts, King continues to who only reemerged recently with a smashing stand on their own as discrete sculptural mine the fertile ground between nature and new body of work, King is an independent objects. Eventually she intends to cast them imagination. and thoroughly original talent. in bronze; but at present they are realized in The forms in her newest “flora into fauna –– Ed McCormack a sturdy and durable plasticized material that fables,” as she aptly defines them, have she paints over in brilliant colors to bring evolved from the bulbous Loony Toons their often tactile surfaces vibrantly alive. biomorphism (with roots in the funky Hairy The energy that animates these more Who aesthetic of her native Chicago) that Kathleen King, “Life After Life,” worked up sculptures springs, at least in part, marked King’s previous series to a bizarre Viridian Artists, Inc. 548 West 28th Street, from how the artist has left traces of the species of baroquely mutated figuration in through November 5th, 2012. raw materials that she used to create them which certain of the morphed fauna now NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 5 George Oommen’s Homeward Journey to the Center of Self t was once verboten for abstract painters to Most of Oommen’s recent again, allusions to Iadmit that their work was “about” anything compositions, however, (executed landscape appear, in particular. However, the permissiveness of in a particular brand of house paints albeit interrupted the postmodern era has done away with the whose unusual spectrum of colors he by a mysterious sterile notion that nonobjective painting must particularly fancies) are sumptuous blue-green rectangle be discrete unto itself; about nothing but form abstractions that project the tropical at the lower center and color. sensuality and atmospheric essence of the composition It is doubtful that George Oommen, a of Kerala rather than approximating that subverts any painter and architect born in Kerala, a region the lay of its land. completely naturalistic in the Southwest of India, now a resident of A canvas called “Monsoon “Visions of Kerala 21” reading of the work. Boston, would deny the place of his inspiration Magic,” for one chromatically Even more adamantly abstract is a tall in any era. Indeed, for a few weeks of each year rich example, exploits vertical streaks of a vertical composition called “Harvest Time,” the Oommen returns to Kerala, known to many as liquified vibrant blue hue (sprayed with water composition of which consists of a simple stately “an earthly paradise” for a fresh infusion of the to create drips) over a ground of a deeper, golden orange rectangle, irregularly streaked light and color that emanates from his canvases. more nocturnal blue to evoke the downpours with strokes of yellow, poised between areas And although he cites the well-known British that saturate Kerala during its rainy seasons. consisting of subtle variations of both hues. painter Sir Howard Hodgkin, along with the To go from this painting, or “Rhapsody in It is a composition as entirely abstract for its American Abstract Expressionists Mark Rothko Blue,” an even more intensely saturated overall formal austerity as any by Rothko or Newman, and Barnett Newman as important influences, composition of layered drips, to the luminous yet permeated by the light and heat of the his overwhelming love of a specific locale as composition of sunny yellow and orange hues artist’s beloved birthplace. Perhaps what the an impetus for creation recalls John Schueler, that Oommen calls “Sacred Places Within paintings of George Oommen finally tell us a splendid painter who forsook the New York You 32” is perhaps like emerging into blazing is that no photograph in a magazine such as School at the height of its fame to migrate to a sunlight after traversing one of the Southern National Geographic or realistic representation small village on the seacoast of Scotland for its Indian Hindu temples where worshippers are of landscape can come close to the art of unique light and roiling cloud formations. enveloped by absolute darkness. pure painting when it comes to capturing the Vestiges of landscape are still visible in Another vibrantly bright painting by intangible components of memory that cause Oommen’s acrylic on canvas “Visions of Kerala Oommen, “Visions of Kerala 21” projects a our hearts to leap with joy. ––Maurice Taplinger 22,” in which one can discern languid palm leaves sense of tropical heat and verdant growth with a and mountains on the distant shore, mirrored in a vivid golden orange stratospheric area hovering George Oommen, Agora Gallery, 530 clear body of water, the entire composition awash pregnantly above a low horizon enlivened West 25th Street, November 1 - 21, 2012. in a radiant golden orange hue. by variegated green and yellow hues. Here, Reception: Thurs. November 8, 6 - 8pm. WSAC Artists Begin the New Season with Lively Diversity hen curator and participating artist / poet foliage are nonetheless somewhat abstracted strokes, wavelike rhythms, and circular 3-D WAnne Rudder conceived of an exhibition in a manner akin to Fairfield Porter. By collage elements prove that Ab-Ex push-and- called “Warm/Cools” she was thinking of a contrast, the oils of another gifted landscape pull is still alive and well in the postmodern era. show about the coming of Fall, when “summer painter, Nate Ladson, rely on the drama of Another artist who adhered to the seasonal romance is a memory and youthful optimism light and shadow, somewhat in the manner of theme, Herbert Evans, showed a composition is tinged with wistfulness as days are shorter the British master Turner, for their explosive in acrylic on canvas, entitled “The Birth and cooler.” But if some of the chosen artists dramatic effect. of Autumn,” in which jaggedly arranged wandered far afield of the intended theme –– Two other participants lend their own kind photographic fragments of facial features, a well, what’s in a name anyway? of drama to the urban landscape: In her oil semiabstract figure divided between areas of At least Rudder’s own piece, “Autumn “Nighthawks – Harlem 2012,” Ida Marx pays blue and brown and fiery orange hieroglyphics Song,” is a characteristically lyrical watercolor tribute to Edward Hopper yet imparts her appeared to allude to Cubism and African depicting a pair of entwined lovers in an own atmospheric touch to a nocturnal Dunkin sculpture. Then there was Joseph Boss who autumnal setting and hues illuminating a Donuts on a corner uptown, with patrons showed a group of small but powerful mixed poem in which “Two Souls move as one / looking like laminated sleepwalkers through media abstractions with richly worked surface Petals whirl on dark ground / Yellow rusting the big plate glass window and a homeless textures, a broad variety of techniques, ranging gold days.” man slumped on the sidewalk outside. “City from Pollock-like drips to Impressionistic Beatrice Rubel also adheres to the theme Scene” by Helen Henry conjures Brueghal daubs of brilliant color, that, viewed together in “Summer Fades and Autumn Arrives,” a by way of Red Grooms yet also lends her as an installation, created an effect not unlike buoyant Miro-like drawing in colored pencil own stylistic panache to a lively crowded a jazz improvisation –– perhaps by Charlie of a sun with beams resembling daisy-petals street where every window and store-sign Parker –– in many diverse choruses. lighting a yellow sky above an expanse of pale is rendered in detail and the face of each The final artist and the show’s sole blue in which gold, yellow, and red leaves float pedestrian and driver is an individual portrait. photographer, Patience Sundaresan is a vibrant like a school of exotic fish passing under water. Abstraction also makes a strong showing in colorist who held her own admirably among Also possessed of a playful sense of wonder the work of Francois Ilnseher whose mixed several her painter peers, particularly in Central perhaps closer to the spirit of Alexander media painting on glass “Harvest” is made up Park Bubble, a magical image of a huge soap Calder, Amy Rosenfeld straddles two seasons of many intriguing shapes, symbols, and color bubble, filled with luminous yellow, blue, in her freewheeling composition in oil pastels areas arranged within an irregular grid that and violet highlights floating high above the and collage on canvas, “Good Ol’ Summer gives the composition a winning combination verdant trees and a lone, oblivious, little man. and Fall Days.” of freedom and formal cohesion. Then there –– Byron Coleman Realist Marguerite Borchardt takes a was Emily Rich, represented by some of her straightforward approach to a seasonal most bold and aggressive acrylic and collage “Warm/Cools,” recently seen at landscape in “River - Fall Reflections,” in paintings, particularly “Ocean Series #23,” Broadway Mall Community Center, which luminous blue water, russet mountain where converging areas of vigorously gestural 96th Street (center island) 6 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 A Lifetime of Looking Informs the Art of Hedy O’Beil ne sees in Hedy O’Beil’s paintings the flowing as the elegant graffiti of Cy Twombly, Owork of an educated hand; which is say, exploding on a bright yellow field, further of an artist deeply steeped in art historical enlivened by bursts dark pink and gray-green references that she can automatically draw above a jerky black line running across the upon whenever she puts brush to canvas or lower part of the composition, suggesting a paper, even to make the most spontaneous- loopy cartoon mesa in the Arizona desert. seeming gesture. Snatches of Cezanne and As its name hints, all vague landscape Monet, along with a whole range of other referents fall away in another large canvas that modern and older masters, mingle with the artist calls “Jazz Red.” For here, scrubbed her own unique stylistic handwriting in a and scumbled primaries merge with bursts of vibrantly varied melange of mark-making. verdant green, areas of a funky dirty pink hue, Like the late Fairfield Porter, another artist and a serpentinely baroque red linear form well versed in the language of the brush, that twists and turns upon itself towards the O’Beil has been a critic as well as a painter lower right bottom of the composition. The for many years. But while Porter set himself musical title fits the mood, since this work is up early as a sympathetic realist among all about the exhilaration of improvisation. Abstract Expressionists, drawing upon their Then there is “Sky Dancer,” its dynamic immediacy to invest his figure paintings and “Moonglow” composition dominated by a single large landscapes with a singular freshness and vigor, the “action painting” ethos of The New York cloud-like form composed of boldly O’Beil passed through several stages to arrive School, which made her a natural shoo-in for interwoven red and blue strokes. Suggesting at the purity of line, form, and color that the Pollock-Krassner Grant she was recently a nest of upside-down alphabet letters distinguishes her work today. awarded. obscuring and interrupting each other in There was a period of flirtation with In her new exhibition at Gallery 307, a indecipherable palimpsests, this monolithic feminism at that moment in the 1970s, venue in Chelsea sponsored by the Carter form floats near the top of the composition when to be a thinking woman artist was Burden Center to exhibit and celebrate older Continued on page 13 synonymous with being an activist against artists who are still doing vital work, O’Beil unveils the full flowering of a mature style. the male chauvinist bias of the art world. And Hedy Obeil, One sees her at her best in the energetic large for a time she was engaged with a surreal “Recent Paintings,” Gallery 307, canvas called “Moonglow,” with its lively species of still-life painting. But by and large, 307 7th Avenue, November 8 - 29, 2012 through it all, she has remained faithful to scrawled white and black ecriture, as freely WSAC: Catching the Wind and Other Challenges “ hen that I was and a little and tiny boy, Francois Ilnseher captures windblown palm Another artist who was challenged by W/ With hey, ho, the wind and the rain, / trees almost silhouetted by the blurring gusts conveying the elusive quality of wind, as A foolish thing was but a toy, / For the rain it of a tropical storm. Ilnseher also projects a opposed to the visible effects of rain, David raineth every day,” begins one of Shakespeare’s sense of impending drama in “Confrontation,” Reibman suggested its movement not most fanciful poems, which inspired the name a view of an aircraft approaching on a runway, only with his multiple images of pedestrians and theme of a photography exhibition co- as seen through the windshield of another strolling briskly along city streets but also with curated for the West Side Arts Coalition by grounded plane in its path. the irregular, somewhat lopsided manner in participating artists JD Morrison and Janice In her color digital print “Wet Green which he presented two or three overlapping Wood Wetzel. Leaves,” through a cunningly cropped close- prints within a single frame, as though the Starting with the co-curators, JD Morrison’s up of magnified raindrops, Jean Prytyskacz pictures themselves were being blown around “Out the Window in the Rain” is an elongated makes an intimate subject monumental. And in a gale. Thus still subjects such as “Nam bird’s-eye view of upper Broadway with the intentionally or not, in another picture called Wah,” the oldest tea parlor in New York’s gutters glistening and the treetops of the “Running in the Rain,” Prytyskacz conveys “Chinatown,” and “The Gugg” (as Reibman traffic island dividing the avenue blooming some of the “hey, ho” of childhood wonder abbreviates the Museum that Frank Lloyd verdantly, like pampered plants in a window that animates the first stanza of Shakespeare’s Wright designed to resemble a flying saucer box. Another digital archival print by Morrison poem (before it descends into the mundane anyway) take on a breezy new velocity. called “Clothing Radios” focused on the woes of adulthood when the narrator comes If one were giving an award for the most windowless side of a building covered with “alas! to wive” and to carouse with “toss-pots” abstract pictures in the exhibition, it would hand-painted advertising lettering so faded and and “drunken heads”), albeit embodied in have to go to Lucinda Prince, hands down. further obscured by a downpour as to suggest a young adult perhaps racing to arrive at the For her digital color print “Pluie Muette” is a wall in old Pompeii. stop in time to catch the bus coming along a lyrical vision of green foliage seen through Janice Wood Wetzel’s digital print behind him with its lights glowing blurrily a glass bubbled by precipitation and her “Rainbow After the Storm” features a sky so through the downpour. composition called “Waterfall Window” is darkly dramatic as to rival that in El Greco’s Could it be the bus stop he’s racing toward even wetter. But perhaps Prince’s biggest “View of Toledo” brooding hugely over a is the very one that Amy Rosenfeld focuses accomplishment (they said it couldn’t be dwarfed strip of skyline, the whole moody on in her digital print “Look What the Wind done!) was actually catching the wind –– or at vista made magical by the ribbon of luminous Blew Down,” lying flat on the sidewalk like a least its blurred reflection –– in the picture she hues curving down from a mass of cumuli. spear that missed its target, right next to one calls “55 MPH”! Another digital print by Wetzel, “City Storm of those yellow NYPD CAUTION ribbons –– Peter Wiley Brewing,” captures the lull and weirdly intense secured to the pole a nearby streetlight? sunlight amid clouds preceding the event with Indeed, the wind rather than the rain is the “Hey, Ho, The Wind And The Rain,” characteristic attention to subtle atmospheric element that Rosenfeld choose to photograph recently seen at Broadway Mall Community nuances. in other digital prints as well, such as one of a Center, 96th Street (center island) In a silver gelatin print titled “Islamora,” ferris wheel spinning against a blue sky. NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 7 Joe Chierchio’s “Dream City” Series would decide to add photographic elements The extra layer of ambiguity that these (even if taken with his own camera from new photographic fragments impart to the his own peculiar angle of vision) to some of “Dream City” drawings of Joe Chierchio the color pencil drawings in his latest series can also be seen in “Girl with Fruit,” “Dream City.” All one has to do, however, is where big apples, oranges, and pears in the encounter a work such as Chierchio’s “Water foreground spill from a paper bag and roll Tanks” to realize that, at least in some pieces, along a cobblestone city street as a blond the new approach makes Chierchio’s unique female runner, as comely and agile as the style of urban surrealism all the more magical. mythical goddess Diana in a tanktop-halter Now notice how the clusters of real water and shorts gazes apprehensively over her tanks rocketing from rooftops high above the shoulder as she races along a dark city street city streets are clustered together like a whole with tenements and the Brooklyn bridge crowd of Wizard of Oz tin men against real looming in the background. Here, too, the cottony white clouds in an actual blue sky. vertiginous angle at which the runner is Now notice the boldly drawn longhaired tilted, as well as the disparate proportions and kid in t-shirt, shorts and sneakers, flying scale of the foreground fruits in relation to with his skateboard suspended in midair the architectural elements in the background in front of the largest water tank toward enhance the dynamic pictorial tension, as in the bottom-center of the composition: is a dream. he semitransparent because he’s actually Chierchio sometimes reverses the an image, painted on it, like a figure on a relationship of the photographed and drawn billboard, by some equally fearless aerialist elements, as seen in “Sightings,” where the “Water Tanks” of a supremely gifted graffiti artist with huge black and white photo-image of a Michelangelo-esque ambitions? Or is he the beautiful brunette film star looms like a oe Chierchio is such a consummate ghost of one of those young urban daredevils Continued on page 13 Jdraftsman, obviously capable of drawing who, having veered recklessly off the any image –– no matter how unusual or wrong steep concrete slope at precisely the Joe Chierchio’s paintings otherworldly –– conjured up by his fertile wrong moment, now rides the sky through can be viewed at www.joechierchio.com imagination, that one might wonder why he skateboarder Heaven for eternity? Rosa Tardiu’s Successful Marriage of Formal Rigor and Subtle Emotion fter decades in which recognizable centuries. Thus they can be compared at least Asubject matter had been abandoned for on one level to the African-American artist abstract modes of expression, some artists Kara Walker’s simultaneously quaint and bitter sought new ways of merging content and silhouettes (actually executed in cut paper) of modernist aesthetics. In the United States, this slaves and masters in America’s Old South. movement, as practiced by artists such Robert For like the black slaves imported from Africa Moscowitz, Jennifer Bartlett, and Donald in chains during that tumultuous period in Sultan among others, became known as New American history, many of the creatures that Image Painting. Rosa Tardiu depicts are an endangered species. Whether it had its exact equivalent as a This lends a tender poignancy to her critically defined tendency in Spain or not, depiction of a bear walking with its cub Rosa Tardiu, a painter born in Barcelona in protectively positioned between its front legs. 1944, appears to be very much in tune with However, the hard-edged simplicity of the paintings of a squirrel (here, in reverse the goals of such artists, putting her own spin silhouetted imagery (here further distanced negative, which lends the little critter a ghostly on new imagery. by being presented on a gold rectangle phosphorescence, as it scampers down a One first became aware of Tardiu’s work a surrounded by a thick black border) prevents darker bough amidst thistles set against a few years ago in a splendid exhibition at the the painting from descending into cloying nocturnal black background; a silhouetted Montserrat Gallery in New York City, where sentimentality. The black image, suggesting wolf howling at a black moon; crow-like she showed a series of paintings on the theme a shadow that could vanish with a change of birds soaring against a gold sky bordered of roses, stressing their formal qualities without light –– just as the species itself could disappear at the top and bottom by stripes; and other ignoring the poetic and erotic allusions also if our world wide efforts at conservation were paintings of oddly stylized trees possessed of an associated with these sensual flowers down to slacken –– makes this point, even while almost Asian sinuousness counterbalanced by through centuries. And although roses the painting makes a strong formal statement monochromatic geometry. still appear as powerful symbols in some of sufficient of itself to arrest our attention. In each of her paintings, here as in previous Tardiu’s paintings, various species of wildlife Just as striking is a silhouette of a lone exhibitions, Rosa Tardiu reveals herself to be are the principle subjects of her new exhibition deer-like creature poised on a rocky terrain as one of those rare artists who brings about “Oro y Negro (gold and black) at Gallery though about to bolt, as well as another oil on a perfect synthesis of purely formal and Aragon, in her native city of Barcelona. canvas of two such animals swiftly traversing conceptual elements. –– J. Sanders Eaton That many of Tardiu’s new oils on canvas a flatter plane on their delicate legs. In both Rosa Tardiu, “Oro y Negro,” Gallery of animal subjects are painted as silhouettes compositions, once again, the artist’s unerring Aragon 232, Barcelona, Spain, November not only strengthens their formal appeal sense of space and composition enables her to 8-24, 2012 Tardiu’s work can be seen in the yet, paradoxically, lends them a sense of captivate us primarily with the work’s abstract year-round Salon Exhibition at Montserrat nostalgia, which some viewers will associate attributes. Contemporary Art Gallery, with the black paper cutouts popular in earlier The same holds true for Rosa Tardiu’s 547 West 27th St. 8 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 Musician-Artist David Tobey Strikes a Spare New Note professional and Jon Bon Jovi ) has originated with the advent of Cubism and Aclassical violinist a natural fondness for has since remained an integral element of with the several major musical subjects. progressive modernist aesthetics. Notice as orchestras (currently, Indeed, Tobey’s well how the same linear mastery, in concert the Westchester painting, “The with the high notes and chromatic accents Philharmonic) as well Westchester provided by Tobey’s sublime sense of color, as a painter, David Philharmonic,” which also serves to suggest the lilting rhythms of Tobey applies the can be seen, along with the music that the Philharmonic is playing attributes of music some of the works in with the more abstractly wavering forms perhaps more naturally his present exhibition flowing fancifully and filling the space above to visual art than any in New Rochelle, on the musicians. other artist whose name his website (www. The same sense of visual music suggesting springs immediately davidtobey.com), is one audio nuances also animates Tobey’s to mind. In both his of the more complex composition “Harpist.” The comely female figurative and abstract examples of his linear instrumentalist appears to meld with her compositions, his “The Westchester Philharmonic” style. For this sixty- instrument as harmoniously as the mythical rhythmic line is the by-six inch canvas is a Leda mates with her swan –– the curvaceous melodic factor that binds their various minutely detailed depiction of the orchestra neck of which the Baroque arabesque-like elements together harmoniously. in which the artist presently plays. Notice curve of her harp actually evokes, just as the Like Ronnie Wood, the guitarist for the how his rhythmically swirling line unites the linear bubbles surrounding the figure, as well Rolling Stones, who is an accomplished foreground figure of the conductor with as the mellow blue hues they enclose, suggest visual artist in his own right and has often the various instrumentalists fanning out the instrument’s rippling feminine notes. painted his band mates in performance, from him. While the musicians farthest from Continued on page 13 Tobey (who was recently amused to find their leader appear to be receding into deep David Tobey, “Imaginaries Part II,” 52 Nob himself characterized, in a Sunday feature space by virtue of their diminishing physical Court, New Rochelle, NY, Nov. 19 through in Westchester’s Journal News as one of proportions and the illusion of deep space the holidays, Reception: Nov. 19, 3 - 7 pm. the county’s “Rock Star Residents” for his that Tobey thus creates. Notice how his linear RSVP or to be put on the guest list: violin performances at celebrity weddings mastery simultaneously emphasizes the reality [email protected], 914-329-2581, and parties (including those of Mariah Carey of the two-dimensional “picture plane” that www.davidtobey.com Robert Oelman and the Art of Seeing ith the progress of digital technology well be, considering that the rain forest is Wmany photographers have become a world apart. Take, for example, the print preoccupied with aping aspects of painting. entitled Trophyllum sp/“Monte Cristo,’” No doubt, digital imaging has provided us which like all of Oelman’s pictures is a color with exciting innovations and new directions photographic print on fine art paper. With in so-called “painterly photography.” At the its long, spider-like limbs and delicate almost same time, however, we have also seen a human-looking profile and long, tail-like disheartening decrease in artful documentary profusion jutting up from its rear end, as photography. it makes its way across a magnified leaf, it “What I am about is a dedication to seeing appears almost regal in its bearing. Indeed, it Tropidolimia auriculata/“Rainbow” all there is to be seen,” says photographer is as otherworldly as something sprung fresh at both their broad base and their tapered, Robert Oelman, who captures what is from the fertile imagination of the nineteenth tongue-shaped tips. often invisible: the tiniest and most exotic century French Symbolist draftsman and There are many other delightfully insects, some of which can mimic leaves and painter Odilon Redon –– who actually did weird mites to be seen in this menagerie camouflage themselves amid tropical foliage. invent amoeboid beings and insects with of exotic wonders, including Stenophylia Amazingly, many of these species human heads! comigara/“Draco,’’ an elongated critter that have never been photographed before By contrast, the print that Oelman calls mimics the color and texture of the rough and are often unknown to all but “the Tropidolomia auriculata/“Rainbow,” shows bark surface on which it is seen. There is also most specialized entomologists,” the text us a literally “bug-eyed” creature as squatly a contact sheet show of several bugs cavorting announcing Oelman’s exhibition tells us. constructed as as frog, perching on its four on leaves, its delicate colors reminiscent of an Oelman and his assistant, Cristian Fernando spindly pink legs on a curved greenish yellow antique Sunday newspaper page of George Lopez, travel to the remote rain forests of surface that appears to be the rind of a tropical Herrimen’s immortal comic strip “Krazy Kat.” Colombia, Ecuador, and Peru, to photograph fruit. As roundly ungainly as this tiny creatures Also present to provide a broader the structurally diverse insects known as is, however, it has a feature of beauty and perspective of the microscopic realm treehoppers; katydids, and mantids. glory: two rainbow-striped wings of more Robert Oelman’s minute subjects inhabit To take insect photography out of the field radiant hues than those of most butterflies. is a breathtaking panoramic print called of scientific specialization and elevate it to the Unusual wings (or are they oversize ears?) “Machu Pucca, First View,” showing verdant level of a high art, Oelman has developed new are also a feature of another creature, in the mountain ranges enveloped by thick mists, as techniques and mastered the use of light and print entitled Membracis dorsata/“Ziggy,” magnificent as any masterpiece of any scroll shadow in order to create compositions with which has alighted on a large green leaf that painting from ancient China. –– Philip Wylie real dramatic impact. it is attacking with what appears to be a large For the unitiated, seeing these tiny bugs black, avian-like beak. This insect’s wings in his crystal clear close-ups is tantamount –– or ears, as the case may be –– are a shiny Robert Oelman, Agora Gallery, 530 West to encountering fantastic creatures from shade of grey that matches the rest of its body, 25th Street, November 27 - December 18, another planet –– which they might as but they are decorated with bold white stripes 2012. Reception: Thurs., Nov. 29, 6 - 8pm NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 9 FRAN LEBOWITZ: THE GIRL CAN’T TYPE ! an excerpt from Hoodlum Heart: Confessions of a Test Dummy for the Crash and Burn Generation a memoir by Ed McCormack ournalists and former journalists are Jinveterate name droppers. I’m not about to apologize for this. Names, along with stories, both on and off the record, are what we feed off professionally and dine out on privately. Popping up in a mundane conversation, the names of the famous are flash points, signifying the cut-rate immortality that, in a secular age, only celebrity can confer. He who can utter these magic names familiarly holds something like the powers of the priesthood when it was still widely believed that the clergy had a pipeline to heaven. Curiously, celebrities are the biggest name droppers of all. Have I ever hung out with a well known actor who doesn’t insist on referring to Robert De Niro as “Bobby?” And if the rock singer Alice Cooper, with whom I toured twice on assignment for Rolling Stone, told me once, he must have told me ten times about the time he played golf with Groucho Marx. The famous just can’t seem to believe the company in which they find themselves! But permit me to get personal, as I invariably do anyway. Not too long ago at a big family dinner in an Italian Restaurant Bright Young Things (left to right): Writers Fran Lebowitz and Ed McCormack, and called Goodfellas, on Staten Island near the singer-songwriter Garland Jeffreys, 1971 funeral parlor where my favorite aunt, my aunt Delores, was laid out, a first cousin once and he and his wife Laurie Anderson became Crowe’s title for the feature film that, in his removed made casual mention of a female the downtown art scene’s golden couple), case, eventually eliminated the “almost” rock star who had been much in the news was suitable company for me, I used to enjoy part. So when Fran suggested that we hype lately. Immediately I was tempted to share a going to press parties with Fran Lebowitz. each other in print, I laughed it off –– if not scene I had been privy to, between this singer One thing Fran and I had in common superiorly, as if I really didn’t think she could and an ex-boyfriend, which was among the was that we were both autodidacts who had be serious about such a scheme. very few things I considered too gross and dropped out of high school and educated Although she was great company and demeaning to put into print. But given the ourselves by reading. Another was that I respected her talent, my condescending solemnity of the occasion, I swallowed my we had both once aspired to be beatniks attitude toward Fran was perhaps best words, and for a while afterward felt noble for (although having grown up considerably expressed in a conversation I had one day at showing such restraint. further than I had from Greenwich Village, in the Factory with our mutual friend, Glenn I didn’t succumb to temptation even after Morristown, New Jersey, where her parents O’Brien, who co-edited Inter/View with Bob the name of a TV chef came up at the dinner owned a furniture store, Fran’s beatnik role Colleciello. When Glenn mentioned that he table and my cousin Jimmy Coleman, Aunt model had been Maynard G. Krebs from was about to type up Fran’s latest column, Delores’ youngest son, a sanitation worker the “Dobie Gillis” TV sitcom rather than I said incredulously, “You mean Fran still with a down to earth wit, mock-boasted, “I Kerouac or Ginsberg). Yet another was that hasn’t learned to type?” pick up her garbage!” we made each other laugh, however ruefully, “No, she always writes with a pen,” Glenn Only later that evening, on the ferry back by complaining about how boring every affair told me. to Manhattan, did I want to kick myself for we freeloaded at was and how much smarter “She’ll never be a real writer until she missing an opportunity to share some inside and more deserving of wealth and fame we learns to type,” I said, as if to idiotically dirt. both were than all those present who had reverse Truman Capote’s famous crack about Such unseemly, often inappropriately timed already attained it. Kerouac, by saying, “That’s not typing, that’s impulses are among the occupational hazards This injustice obviously bothered Fran writing!” of being in a profession that affords one close even more than it did me, because I can’t Another time I ran into Fran at Max’s personal proximity to people about whom count how many times she suggested, “Why Kansas City and told her my wife had left me. most other people are almost ghoulishly don’t we write about each other, Ed, and “I’m so sorry to hear that, Ed,” she said. curious. It is even sometimes hard to control make each other rich and famous?” “You and Jeannie always seemed like such a the impulse to drop the names of people At that time Fran and I both wrote for perfect couple.” one knew before they became famous and Changes and Andy Warhol’s Inter/View. But No more than a few minutes had gone of whom, as a consequence, one is intensely because I also wrote for Rolling Stone, which by, however, before she said, “Since you’re jealous. had a much larger nationwide readership not living together anymore, Ed, would you For example, before I became so drugged, than either of those two New York cult mind if I called Jeannie and asked her out?” drunken and depraved that only the publications, I must smugly have felt that I “No, not at all,” I said, even though I Godfather of Punk, Lou Reed (light years was already “almost famous,” to borrow my actually minded very much, preferring to before he stopped drugging and drinking fellow former Rolling Stone writer Cameron continue thinking of Fran as a friend rather

10 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 you know how to take it was how sad she sounded and that dogs care of yourself. I just could be heard barking in the forlorn screen- didn’t want to come door stillness of a suburban afternoon); then on like, you know, died far too young (of what, I never found uptight.” out). “Of course! I Looking back, I can’t help wondering if mean, God forbid her miscalculation about Fran’s writing, along that the super cool Ed with the thankless task of trying to agent McCormack should someone as unmanageable, irresponsible, and ever act uptight about ultimately unprofitable as myself could have anything!” contributed to the general malaise that set the “Please don’t be so stage for Dorothy’s untimely demise. sarcastic. So what did But for all Fran’s talent and wit, who you tell Fran anyway?” could have predicted at the time that this “I told her basically cranky, frizzy-haired munchkin of a girl what I just told you, would eventually become the author of but more politely. two bestsellers, a frequent TV talk show I thanked her for guest, appear in a recurring role as Judge thinking of me and Janice Goldberg on “Law & Order,” and said I’d like to see –– the icing on the cake! –– the sole subject her sometime in the of “Public Speaking,” a full-length HBO future, but right now documentary by her good buddy “Marty” I’m really busy with Scorcese? work and trying to So you can imagine how I felt when, as a spend as much time as consequence of having dropped Fran’s name possible with Holden, to my editor at the New York Daily News than a romantic rival. But if asked to break so he doesn’t feel too insecure about our Sunday Magazine (for which I was reduced down our social set demographically, I would separation and everything. Being a reasonable to freelancing in the 1980s after burning have had to estimate that it was probably person, she seemed to understand perfectly all my hipper bridges), I inadvertently about one third Straight, one third Gay, well, and it was all very friendly. But do me a obliged myself to write a profile of her. It’s and one third Undecided, with everyone favor, from now on don’t go giving my new masochistic, I know; and it only makes things free to change places and partners at any number to anybody –– especially not your worse when the friend who has succeeded so time. Theoretically, it was a scene in which freaked-out friends from Max’s!” spectacularly seems genuinely happy to see everything, and everyone, was up for grabs, It was one of those edgy conversations that one again. Because if you’re anything like so to speak. So it would have been bad you have with someone who has decided, me, you automatically assume that it’s only form –– not to say, unsporting –– to wax after years of trying, that you’re impossible because they want to rub your nose in their prohibitively possessive about someone with to live with. But I missed Jeannie terribly success. whom one was no longer cohabiting. and was always happy to hear from her about Originally, I planned to interview Fran in A couple of days later Jeannie called and anything at all. her apartment, an idea that seemed to terrify said, “Do you think I’m dating girls now –– * * * her, even though I was sure her new digs at or what?” “Did you see ‘Factory Girl?’” a former The Osbourne, one of the city’s grandest “What do you mean ?” I asked Factory girl whom I had not heard from prewar apartment buildings, had to be a lot disingenuously. since the early ‘70s e-mailed me awhile more impressive than the dark little tenement “Your friend Fran just called to ask me back, referring to a recent film about studio apartment in the Village where I out. I knew she had to have gotten my new Edie Sedgwick, Andy’s first Superstar. “It remembered visiting her back in the early number from you, since I never gave it to any reminded me of how mean we all were back ‘70s (when if I remember correctly, she was of those Max’s people myself.” then.” still occasionally driving a cab to make ends “Well, who have you been giving your She was right; we were all so gossipy, meet). number to anyway?” competitive, and bitchy, even when it came At first she agreed; but on the morning “You have a lot of nerve to ask that to our good friends –– at least behind their of our appointment, she called to suggest question. It’s none of your business, but I’ll backs. In fairness to myself, though, I did moving our meeting to another, more public answer you anyway: Nobody. Some of us recommend Fran highly to my then literary location. have other things to do besides run around agent, Dorothy Pittman of John Cushman “There’s some kind of construction going with everybody in town. I have a child that Associates. Unfortunately, Dorothy found on next door and the noise is intolerable,” I’m responsible for: your son, have you Fran’s writing “arch and affected” and she explained with deafening silence in the forgotten? But you still haven’t answered my turned her down –– a decision that had to background. “They seem to be using some question.” haunt her, even if she wouldn’t admit it, monstrous new machine –– it’s even worse “Yes I did give your number to Fran. after Fran’s first book, “Metropolitan Life,” than usual today.” When I told her we were separated, she asked got her compared by reviewers to Dorothy “Well, I was hoping to observe you in for it and I didn’t think you’d mind. You’ve Parker shot to the top of the New York Times your natural habitat,” I persisted. “Maybe we always liked Fran, haven’t you?” bestseller list. could postpone it a few days. When do you “True, I like her a lot better than most of Dorothy jumped into a hasty marriage, think the noise might end?” those decadent characters you hang out with. moved upstate to Ossining (Cheever country “Next March,” she said, suggesting that But that doesn’t mean I want to go out with and home of Sing Sing Prison); suffered we meet instead at Wolfe’s Delicatessen on her !” a devastating depression (we had one last West 57th Street, right down the block from “I know, but I figured you’re a big girl, phone conversation, and all I remember of the Osbourne.

NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 11 By the time her friend Marty filmed her for spaciousness was made all the more “But I actually lived better then,” she HBO in 2010, Fran Lebowitz would come impressive by a conspicuous lack of furniture. insisted. “At least I could still afford to take to resemble the bastard offspring of some Showing me into her study, where the only taxis –– even ones that I wasn’t driving. I unlikely tryst between Oscar Wilde and thing to see was floor-to-ceiling books, she haven’t taken a taxi in years unless someone Lillian Hellman –– especially in the tuxedo- said, “This is where my desk was before I sold else is paying for it.” type outfits that I often saw her wearing in it. Another excuse not to write.” Okay, so I had been wrong in assuming all those fancy party photo layouts in New After fixing me a scotch on the rocks and that Fran had not taken public transportation York and Vanity Fair. But that day in 1986, herself a club soda in the equally bare pantry, in years. But I still guessed that her poor- aside from a few gray hairs here and there, she led me into the living room, where the mouthing was more than a little exaggerated, she walked through the door of Wolfe’s only amenities were a lonely looking easy because I didn’t really believe her when she looking not much different than how I chair and a handsome sofa: black leather but claimed that she had been afraid to collect remembered her over a decade earlier. She not kinky. Producing a single ashtray for us an advance on her long-delayed novel-in- was still short, still smoked incessantly, and to share as we both settled onto the sofa, progress,“Exterior Signs of Wealth.” still sported the habitual blue blazer and she explained that she was selling off her “Since the book isn’t going to be a roman jeans uniform that she adopted from our furniture, piece by piece. Not that she was a clef like Capote’s ‘Answered Prayers.’ I former publisher Andy Warhol. For all my didn’t fear libel suits. It probably seems mean-spirited cynicism, she seemed genuinely completely illogical, but what I was more happy to see me as she made a beeline for my afraid of was that I’d make a deal, it would be table, thrusting out a cheek for the expected I have about the in the papers, and some lunatic would appear social peck. And it was heartening to see that out of nowhere to sue me –– just for having she still “wore life like an itchy sweater,” as same amount of money!” someone once so aptly put it, as she launched debts as Brazil. In any case, fame more than money, had right into a tirade about the college lecture always been the currency we craved above circuit, which accounted for a large part of her income: “It’s too bad you’re not doing this story in the winter. I’m sort of the Willy You’d be appalled at how conservative most of the kids are today. They But I actually lived better make me feel as though then... At least I could I’m talking to my parents. afford to take taxis—even ones that I wasn’t driving.

all else when we were both impoverished “bright young things,” to borrow Evelyn Waugh’s phrase for the characters in his Loman of literature and you could keep novel “Vile Bodies.” That book was set me company on the college lecture circuit. in the 1920s through the 1940’s, when Seriously, though, you’d be appalled at how carefree young aristocrats and barely hanging conservative most of the kids are today. They on bohemians mingled freely in London’s make me feel as though I’m talking to my decadent demimonde, drinking, snorting parents.” This is where my cocaine, attending wild parties together, and “Believe, me, I get inklings of it, like desk was before comporting themselves much as practically the other day on the bus,” I said, although everyone we knew did in the 1970s. To her I was sure Fran no longer used public I sold it. Another credit, however, unlike me, Fran managed transportation and might not be able to excuse not to write. to navigate through our own very similar era identify. “I heard a college age kid sitting without the help of either drink or drugs. behind me say ‘I.R.A’ to his friend and, Her only obsession was becoming famous. naturally, being a child of the ‘60s, I assumed And now I couldn’t help wondering if she they were talking about the Irish Republican finally was rubbing it in when she reminded Army, until the conversation went on and it going into the family business, mind you; she me of one press party at the Rainbow Room finally dawned on me that they were actually simply had no other choice. that we showed up for together, only to be discussing their Individual Retirement “It’s not the monthly maintenance that I told by the haughty door bitch with the list, Accounts.” can’t afford, it’s the loans I took to buy this “I’m sorry, but Rolling Stone was invited and Fran laughed, and apparently comfortable place. I have about the same amount of debts Interview was not.” now that we could still rattle on in the same as Brazil.” I drew a blank and she gave no hint of old way, invited me up to her apartment, “Well, it’s a hell of a lot nicer than that how the incident, which would obviously saying “I don’t usually let anyone who writes broom closet-with-hot-plate you had in have been more memorably traumatic for her about me see my place. I wouldn’t even let the Village,” I told her, remembering than for me, had been resolved. Improbable Better Homes and Gardens in. But since how Jeannie and I used to invite her over a couple as we would have made, even for you’re an old friend, I guess it would be for dinner once in awhile so she’d have that time, I’d like to think I claimed her as okay.” something home cooked that wasn’t out of my date and we were whisked right in. Or The apartment’s high-ceilinged a can. else that I behaved like a true gentleman,

12 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 declaring, “Well, I’m sorry, but if Fran as eager to resume our mutual grousing. sure that my approach was not as caustic as Lebowitz is not welcome, I don’t wish to Discontent, after all, was her stock in trade, it could sometimes be. (For example, in the freeload in this dump either,” and taking and had obviously served her far better than final draft, when she referred herself as “the my friend by the arm, gallantly stormed out. mine had served me, providing her with a Willy Loman of literature,” I cut out my But since it was just as plausible to imagine better class of problems and complaints. sour grapes editorial aside about how she myself retreating behind a potted plant to Ignoring the more salient fact that I was struck me more as the Henny Youngman of avoid being dragged away from an open bar, either drunk or hung over most of the time literature.) I quickly changed the subject to our erstwhile and she was not, I tried to tell myself that the I put her off about dinner, promising to second home Max’s Kansas City. two books I had been contracted to write be in touch as soon as I finished a writing The impact that the closing of Max’s as from scratch but could not seem to finish project I was struggling terribly with we knew it had on our social set can only presented a bigger challenge than she had (something I was sure she’d understand, be compared to how the party ended for had putting out a selection essays previously given her own decades-long block, to London’s bright young things with the published in Inter/View. But that wasn’t which she has come to refer as a “writer’s onset of W.W II. Our friendship survived much comfort either, as “Metropolitan Life” blockade”). Still, I was reminded of my after Mickey Ruskin sold the place to clueless continued to climb the bestseller list. And promise a couple of weeks later, when I heard entrepreneurs who turned it into a punk rock although I didn’t go about it in any overt John Prine’s song, “Hello in there,” with club in 1974 –– even if it was seriously soured way, but rather through a more cowardly the line,“Some day I’ll go and call up Rudy/ (for me at least) by the publication of Fran’s process of avoidance, I found myself going We worked together at the factory ” –– and first bestseller “Metropolitan Life” four years out of my way not to run into Fran. found myself mentally substituting the name later. We would still run into each other at Yet here we were in 1986, reunited at last, “Fran” for “Rudy” and capitalizing the “F” parties and various events. And it was clear and here I was agreeing vehemently with in Factory. that Fran’s runaway success had not changed her that henceforth we should make a point In the meantime, over two and a half more her. But it had changed me. Or perhaps it of getting together more often than every decades have gone by. I suppose what it would be more accurate to say that I had not twenty or so years. And I knew that she comes down to is this: When a friend’s name changed my own situation sufficiently to still meant it when she called right after my piece becomes a name that you drop, it’s time to be on a par with her in the fellowship of the came out in the News to tell me how much drop that friend. misery that loves company. she had enjoyed it, then tried to pin me down * * * Nor could I take any comfort in that to a dinner date. Previous excerpts other cliché about it being lonely at the top I wasn’t surprised that she enjoyed the from HOODLUM HEART, simply because when we ran into each other article; since there are few smells worse than a memoir by Ed McCormack can be read on Fran seemed as discontented as ever and just the stench of one’s own sour grapes, I made galleryandstudio.com

HEDY O’BEIL real trees encircling her long pale neck like a Expressionist paintings. It is apparently Continued from page 7 green feather boa, graces the entire side of a not Pollock, however, who inspires this above a spacious, freely brushed whitish photographed tenement building set against series –– although Tobey shares that late ground with multicolored pentimento a luminous orange-streaked color pencil maestro of the drip’s love of extemporaneous glowing through like fragments of neon Fauvist sky. improvisation verging on spontaneous in a thick fog. Here, too, a whole lifetime Equally, radiantly gorgeous are Chierchio’s combustion! –– but more likely the ancient of looking at paintings comes into play, pictures of a real live model in a miniskirt Zen Buddhist literati painters of ancient informing the succulent complexity of this checking her text messages on a real fire- China and Japan whose economy and sense single work with subtle shifts of gesture and escape, as giant rainbow-colored pigeons of space these new works appear to emulate hue that reward prolonged contemplation. swirl in the foreground; or typing on her so gracefully. Few colorists of such intensity can compete laptop while perched on a fire-hydrant in a “Reductionism and Synthesis” are the with themselves in black and white, but Hedy grid of four different colors that suggests a terms the artist himself favors for these spare, O’Beil proves herself an exception to the Pop tribute to Andy Warhol. pared-down new nonobjective compositions, rule in a series of smaller works on paper in Along with his innovative mixed media which he also refers to, somewhat jocularly, India ink and oilstick on a nocturnal theme. “Dream City” series, in the new mode he as “Rorschach tests for lovers of abstract Worked up with concentrated overlapping refers to as “Fusion Art,” Joe Chierchio art.” But the happy news for lovers of David strokes, replete with expressive drips, these continues to create his completely hand- Tobey’s earlier, more figurative works is gemlike monochromatic works transcend all drawn New York scenes, such as one in which that for all their spareness and pared-down boundaries between drawing and painting, an Amazonian beauty in a skimpy red halter spontaneity these more improvisatory making a more modest but by no means less lolling languidly near a lake in Central Park compositions, like those in his first exhibit rich contribution to a splendid solo show. appears unaware of the little man with the net of “Abstract Imaginaries,” seen last June at –– Ed McCormack attempting to capture the colorful butterfly Pleiades Gallery in Chelsea, are still informed tattooed on her lower back. by the rhythmic and melodic lines that JOE CHIERCHIO –– Ed McCormack belong to Tobey alone. –– Ed McCormack Continued from page 8 guardian angel over a group of young TOBEY tourists on the open top of a sightseeing Continued from page 9 bus, presumably cruising through Times All of these same linear felicities are Square. Conversely, in another “Dream present, albeit in streamlined form, in Tobey’s Is your art website getting lost in cyberspace? City” composition called “Coke Billboard,” new series of thirty paintings, in which he has Contact Gallery & Studio at galleryandstudio@ a drawn face of a model, her glistening switched his medium from acrylics to enamels mindspring.com to find out how to attract the red lips sipping soda from a classic green on canvas, the same medium, most notable attention of collectors, curators, critics, and others Coca Cola bottle through a blue and white for its flowing liquidity, that Jackson Pollock who should know about your work. candycane striped straw, the verdant leaves of used for many of his pioneering Abstract

NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 13 Andy Warhol at the Metropolitan Museum: All Galleries Lead to the Gift Shop by Ed McCormack overed in gaudy Day-Glo flocking around Andy: the Ccow-head wallpaper, with world’s most convincing glitzy silver helium pillows transvestite, Candy Darling, bumping around the ceiling lifting the skirt of his silken like a traffic jam of blimps gown to adjust a stocking and Lou Reed, backed by the and getting the evil eye from Velvet Underground, croaking an actual genital female their junkie anthem “I’m glamour girl who calls herself Waiting for My Man,” issuing Ultra Violet; frantic little Eric from the sound system, this Emerson, a star of the only gallery in the Metropolitan Factory western “Lonesome Museum of Art’s “Regarding Cowboys” and the same Warhol: Sixty Artists, Fifty toxic imp who, with one Years” exhibition transports of his skanky girlfriends, me like a time capsule. almost OD’d me one night Suddenly it’s 1971, at the at the Gramercy Park Hotel, opening reception of an earlier jumping up and down in Warhol retrospective at the his leather alpine shorts Whitney Museum, and Andy and bouncy blond Harpo walks over and asks, “Have Marx curls; Brigid Polk, you met my wife?” the corpulent refugee from Of course I have; everyone The Social Register who who hangs out in the fabled shot up, bared her breasts, Back Room at the downtown and extolled the virtues of bar and restaurant called amphetamines in a rambling Max’s Kansas City knows monologue in the film this wispy little blonde, “Chelsea Girls,” watching wearing big Holly Golightly Andy’s back like a burly sunglasses and brandishing bodyguard. a long cigarette holder as “Yeah, Paul,” I answer she hangs off Andy’s arm. after a long pause,“but that She was Andrea Feldman window is inside out: Never- –– or simply,“Crazy Never Land is in here!” Andrea”–– before Andy * * * changed her name to Andrea In the early Seventies, Whips because of her although I freelanced for his sadomasochistic tendencies. magazine Inter/view and Tonight she has latched onto was listed on its masthead as him with the proud news that at the Whitney is Max’s, where she regularly a Contributing Editor, Andy she recently got mentioned in the New York jumps up onto one of the tables and performs Warhol still struck me as a freaky novelty act. Times as “Andrea Whips Warhol.” her “Show Time” routine –– usually an I regarded him warily and demurred one day Now she takes a snapshot from her bag off-key rendition of “What Have They Done when we were having lunch with some other and shows it to him, saying “That’s you and to My Song,” which she climaxes by burning people at Brownie’s, a health food restaurant me.” herself with a cigarette or sticking a fork in around the corner from the Factory that “That’s not me, Andrea,” Andy says, her forearm and drawing blood. served as its unofficial studio commissary, and laughing, “that’s just a poster of me!” Taking “Andy Warhol is the greatest artist in the he offered me a role in “Women in Revolt,” a a pen from his breast pocket, he asks, “Would world darlings!” she exclaims waving her parody of feminism that he was filming. you like me to sign it for you?” cigarette holder grandly, as the paparazzi “You could be a hippie reporter for Rolling A year later, Andrea will commit suicide, flashbulbs pop all around her. Stone,” he said. “You’d be ... great.” jumping out the window of her parents’ 14th Passing through the crowd and noticing “Great” was Andy’s favorite word; it could floor apartment in a high-rise on lower Fifth how she is upstaging Andy, Paul Morrissey, mean any number of things. Avenue. She will leave Andy a note pledging the Factory film director, comments wryly, “Wouldn’t that be typecasting?” I said. undying love and saying, “I’m headed for the “We’ll have to get you more interviews, “Well, uh, yeah ... typecasting is great,” he big time. I’m on my way up there with James Andrea!” said. Dean and Marilyn Monroe.” Then, turning to me, he points to a huge “Actually Andy, I’d rather write about this On hearing that she landed so hard that picture window surrounded by a yellow grid movie than be in it,” I told him (a decision she left an impression in the pavement of purple cow-heads and says, “That window I still consider to be one of the only smart (according to the Back Room gossip), Andy is the greatest thing in here. It reminds me career moves I ever made). will say, “Oh, it’s so glamorous ... like leaving of the one Mary Martin flew out of in Peter You see, I had spent the earlier part of your footprints outside Grauman’s Chinese Pan. It had to be made much bigger than an the day watching the filming of a scene in Theater in Hollywood!” ordinary window so she could fly through...” which the drag queen Jackie Curtis, playing a But Andrea is still raucously alive tonight, Meanwhile, my attention wanders to militant women’s liberationist, was supposed cavorting as though this fourth floor gallery all the Factory regulars and scenemakers to administer a revenge enema to a male

14 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 chauvinist hard-hat. As the actor playing by the purple numerals of the price, applied the hard-hat stood with his pants down and with a stamp rather than a brush, to the lid his hands on his knees, patiently waiting of that first monumental can –– the touch of for his big moment in film, Jackie and Paul the human hand gives way to silkscreening, Morrissey tossed the enema bag back and a more precise and effortless method for forth and yelled at each other. replicating the look of mass production. With “Goddamnit, Jackie, stop being such a this move Andy has already launched the prima donna! Stop acting like you don’t even offensive against tradition that will provoke know how to give an enema and stick it in!” a drunken Willem de Kooning, cornering yelled Morrissey tossing the enema bag at him at a party, to shout, “I hate you! You’re Andy Warhol (American, 1928–1987) Jackie. a killer of art, you’re a killer of beauty, and Cow Wallpaper Jackie picked up the bag and tossed it back you’re even a killer of laughter.” And forever 1966 Silkscreen on wallpaper 46 x 28 in. (116.8 x71.1 cm) each at the director, screaming, “Fuck you Paul, after the Abstract Expressionist master would The Andy Warhol Museum, Pittsburgh I’m sick of this shit! I’m sick of being paid refer to him as “Andy Asshole.” © 2012 The Andy Warhol Foundation for the Visual peanuts to do humiliating things. How come In truth, Andy was hardly Pop’s first Arts, Inc. / Artists Rights Society (ARS), New York Candy always gets to play the great lady and offender. By the time he painted his first soup of another now deceased drag actor, “Ethyl not me?” cans (premiered not in the chic New York Eichelberger as Medea,” 1979; and Robert And so on ad absurdom. art world but at the Ferus Gallery, a small, Mapplethorpe with a self-portrait posing like As Andy, who had learned the hard relatively obscure venue in the Los Angeles a faun in a Fellini film. way to stay out of the line of fire, stood beatnik ghetto of Venice Beach), Roy Also included are Catherine Opie’s silver off to the side, watching this scene unfold Lichtenstein had already unveiled his comic dye bleach print “Dyke, 1992,” a rear view of while protectively cradling his pampered strip paintings, Jasper Johns had exhibited a a shirtless young woman with cropped hair little dachshund, Archie in his arms, one sculpture consisting of two gilded Ballentine and the epithet of the title tattooed on the couldn’t help wondering if this film was Ale cans, and Claes Oldenburg had opened back of her neck; David Hockney’s 1964 oil his belated revenge on Valerie Solanis, the “The Store,” an East Village prototype of on canvas “Boy About to Take a Shower”; crazed feminist who had nearly killed him: Keith Haring’s Pop Shop, peddling plaster and Andy’s own Polaroid print “Self-portrait “ACTRESS SHOOTS ANDY WARHOL,” replicas of consumer goods ranging from (in Drag)” 1981. Taking off from the latter shrieked the headline of the June 4 1968 birthday cakes to underwear. But at a time work, Douglas Gordon’s C-print of himself Daily News, “Cries ‘He Controlled My when closeted gay artists such as Johns and in a white fright wig, “Self-Portrait as Kurt Life.’ ” Robert Rauschenburg were still affecting Cobain, as Andy Warhol, as Mira Hindley, Tabloid melodrama aside, any casual the macho manner of Abstract Expressionist as Marilyn Monroe,” 1966, is simply silly. observer of daily life at the Factory couldn’t bully boys like de Kooning, Jackson Pollock, Not in the show but reproduced under help being aware of the Svengali effect that and Franz Kline (even while paying their the heading “The Warhol Effect: A Visual Andy had on his acolytes, many of whom loft-rent with day-jobs as window dressers Archive” in the hefty exhibition catalogue, would do anything –– including change their at pisselegant boutiques and department Gillian Wearing’s “Me as Warhol in Drag gender identification –– for the chance to act stores uptown), Andy’s unabashedly “swishy” with Scar” also refers to Alice Neel’s famous out their psychodramas in his films. In the persona and the campy quality of his work portrait of Andy showing off his bullet decades since Andy passed posthumously made him an easier target. Even his idol wounds, and is an even more intricate gender into art history, his influence has spread far Truman Capote, whom Andy practically charade by virtue of Wearing being a woman beyond the Factory and its environs, as seen stalked when he first came to New York from artist. Also reproduced in the catalogue (a in the exhibition at The Met, which features Pittsburgh (much as other young fans would handy annex to the show, as well as a helpful 45 of his own works, along with 100 or so later trail Andy), dismissed him as “a Sphinx resource for making connections that viewers by but a small fraction of those who have without a secret.” It was Andy, however, who distracted by the Met’s maximalist installation followed his lead over the past half-century. came up with a characteristically practical might miss ) is “Not Warhol,” a towering (So prevalent, in fact, is the mark he has solution years later when Capote was finally pyramid of exact replicas of the trompe left on the culture at large –– particularly in too burnt out and addled by drugs and l’oeil Brillo boxes that marked Andy’s first commercial film -–– that, while watching alcohol to accomplish the meticulous prose foray into “sculpture” in 1964, which the Sofia Coppola’s “Somewhere” on DVD for which he was well known: He made well known “appropriationist” Mike Bidlo recently, all those static shots of Stephen Truman a gift of a tape recorder with which showed at Lever House in 2005. Dorff slumping semi-comatose on a sofa to dictate articles for Inter/view. * * * in the Chateau Marmont reminded me On the plus side, too, Andy’s gawky, Andy’s switch, relatively early in his career, of nothing so much as Andy’s “Sleep” or inarticulate awkwardness made him from hand-painting to the more mechanical “Empire State Building.”) appealingly mediagenic in the manner of process of silkscreen printing, could be said The section of the show wall-tagged “Daily a shy, charmingly ditzy starlet. And his to have played right into the nineteenth News: From Banality to Disaster” includes spectacular celebrity and success eventually century philosopher and culture critic Walter Andy’s early, monochromatic “hand-painted made him a role model for a younger Benjamin’s theory that “what withers in the Pop” works, from 1961, such as “Coca- generation of artists in the segment of age of the technological reproducibility of Cola,” “Dr. Scholls Corns,” and “Icebox,” in the show called “Queer Studies: Shifting the work of art is the latter’s aura.” Indeed, which traces of sketchy Abstract Expressionist Identities.” in his portraits, particularly, he even appeared brushwork and gestural drips still linger in Keith Haring reprises one of Andy’s to parody the absent auras with the brash depictions of a single Coke bottle, a foot iconic portrait subjects with a typically Day-Glo hues that glossed up his silkscreened dotted with corn-plasters, and an open fridge graffiti embellished image of Elvis Presley; photo images of stellar celebrities such as stocked with food products. Color first Peter Hujar, best known for his poignantly Elvis Presley and Marilyn Monroe, indicating comes into play a year later in the 1962 classic glamorous Gelatin silver print “Candy how personalities are “packaged” like canned “Big Campbell’s Soup Can, 19 cents (Beef Darling on his Deathbed,” but represented soup or boxed scouring pads. Naturally, the Noodle). But by 1963 –– perhaps inspired here by a more campily lighthearted picture moneyed non-celebrities who commissioned NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 15 portraits through Fred Hughes, the Factory’s denied it, it’s difficult to avoid wondering dapper liaison with high society, demanded if his “Oxidation Painting” 1978, (part of the same slick packaging, and Andy was only a series originally called “Piss Paintings” too happy to halo them as well. and produced by inviting male visitors to Paradoxically, Andy employed the same urinate on large canvases prepared with mechanical process to impart a powerful metallic copper paint and stretched out on emotional impact to “Nine Jackies,” the Factory floor) is not only a parody of 1964, a large grid of images of Jacqueline Pollock-like abstraction –– scorned by the Kennedy smiling radiantly in the motorcade philistine masses but spared the snobbish convertible just minutes before the first shots critical sneers that greeted Pop –– but were fired in Dallas. In all nine of the squares also his belated, last-laugh answer to de that make up the composition, JFK can be Kooning’s accusation that he had killed seen seated on the other side of his wife, also not only painting but laughter itself! smiling, painted over to varying degrees, The final segment of the show, “No resulting in just a faint linear likeness, already Boundaries: Business, Collaboration, spectral. and Spectacle” puts a heavy emphasis on The possible argument that the unnamed Andy’s philosophy that “Good business photographer who took the original picture is the best art.” Ignoring the ages-old deserves equal credit for the power of the boho taboo against against “selling image fails to hold up when one considers out,” he went into the music business, how Andy’s deliberate repetition of it creates producing albums and concerts for The a cinematic sequence that simultaneously Andy Warhol (American, 1928–1987) Velvet Underground; branched out into evokes the slow-motion movement of a Nine Jackies, 1964, Acrylic and silkscreen on mass market publishing with Inter/View; motorcade and a crucial moment frozen in canvas, 65 x 53 x 2 in. (165.1 x 134.6 x 5.1 cm) moved his films out of experimental time, just before something tragic happens. overall, The Metropolitan Museum of Art, New avant-garde venues into commercial Notice that there are no halos here: just a York, Gift of Halston, 1983(1983.606.14-.22) theaters; signed with the Zoli agency dull, faded blue hue, sans the fluorescence © 2012 The Andy Warhol Foundation for the to model professionally and do product of Day-Glo, fading to grimy newsprint Visual Arts, Inc. / Artists Rights Society (ARS), endorsements; appeared as himself on white and dull tan in the last two boxes of New York television shows, including “Love Boat” the grid. Yet, even without added glitz, the and (lending his voice to an animated elusive aura whose absence Walter Benjamin permissiveness Warhol hath wrought. Ditto Andy caricature) “The Simpsons”; bemoaned returns, making “Nine Jackies” as for Karen Kilimnik, who casts Paris Hilton produced his decorative flowers and poignantly close as our age has produced to a as “Marie Antoinette out for a walk at her ironically blatant dollar sign paintings. And, bona fide masterpiece of history painting. petite Hermitage, France, 1750,” which by example, he encouraged younger artists, * * * the mountains-out-of-molehills prose of such as Keith Haring, Jean-Michel Basquiat, In the section of the show tagged the catalogue informs us, “demonstrates and Japan’s Takashi Murakami to market “Portraiture: Celebrity and Power” perhaps an uncomfortable continuity between themselves just as aggressively. the artist upon whom Andy had the worst spoiled women equally out of touch with The galleries turn into a gaudy mall of influence is the irredeemably vulgar Jeff the masses.” (Only, that is, if you can put artist “products,” including a brilliantly Koons, whose glazed ceramic sculpture amusing the cake-eating “masses” with Page colorful room installation of smiley-face “Michael Jackson and Bubbles,” 1988, Six items about Paris’ minor busts for drunk flowers and cuddly “superflat” cartoon a life-size effigy of the late singer and his driving or cocaine possession on a par with bunnies by Murakami; Jeff Koons’ kitschy pet monkey, is quite predictably one of Marie Antoinette’s eventual beheading by floral “Wall Relief with Bird,” 1981, and the most popular works in the exhibition. guillotine!) “Pink Crush,” Polly Apfelbaum’s 2007 The top contender for the most stylistically In this portrait gallery, too, Andy outdoes throw-rug floor piece in dye on synthetic irrelevant piece in the show, despite being the followers whose banality he inspired velvet –– all indebted to Andy’s decorative a celebrity portrait, may be the bombastic with the radical originality of his “Screen series of silkscreened “Flowers,” of which neoexpressionist Julian Schnabel’s Tests”: filmed portraits of an unblinking Lou variously colored versions, produced from characteristically ham-handed portrait of Reed and a bored-looking Nico, two icons 1964 to 1968, are on view, along with a Barbara Walters –– unless one wishes to of unflappable cool whose stillness on film selection of his blatantly iconic 1981 “Dollar justify it simply as an example of Warholian approaches that of his 8-hour epic “Empire Sign” paintings. “branding,” since the catalogue notes that State Building.” After ending in the cow-head wallpaper Schnabel “applied his signature broken In the section of the exhibition gallery where we began and which served plate painting technique to the ubiquitous “Consuming Images: Appropriation, as our Proustian madeleine for this time American television interviewer.” (Despite Abstraction, and Seriality,” all you will trip, there was nowhere else to go but the being a weak imitation of Francis Bacon, sans probably get from Christopher Wool’s museum’s gift shop, presently featuring hard that maestro of the grotesque’s muscular maddeningly monotonous black and white and soft cover editions of the catalogue, push and pull, Schnabel’s 1982 oil on velvet 1988 pattern painting, “Untitled,” 1988, is Warhol t-shirts, reproductions of Avedon “Portrait of Andy Warhol” might have made a headache. On the other hand, Vik Muniz’s portraits of the Factory Superstars, Marilyn a more appropriate choice.) “Action Photo II (after Hans Namuth), a Monroe coffee mugs, Warhol Flower scarfs, Elizabeth Peyton hardly does herself detailed appropriation of a famous photo of and a host of other related products. proud either, with “Blue Kurt,” 1995, a Jackson Pollock at work, executed entirely It was so tacky; Andy would have loved it! characteristically precious and idealized little in dripped chocolate and re-photographed oil of Kurt Cobain, unless a fey academic for posterity, has to be some kind of tour de cum storybook approach can be accepted force. By contrast, although Andy, in his usual as part and parcel of the postmodern disingenuous manner, would surely have 16 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 The Singular Vision of Alexander Kanevsky ike the young Julian Schnabel during his in his paintings, like the two Lmeteoric rise in the 1980s, when he was in the work that set off the hyped more like a rock star than a painter, highly publicized alarm in Alexander Kanevsky is an artist whose career Connecticut, tend to blend into seems to thrive on hype and controversy. ungainly protoplasmic masses “My painting was suppressed for twenty with bloated breasts and flaccid years by my teachers in school,” Kanevsky, genitals whose embraces can who grew up in Soviet Russia before suggest cannibalism as much as immigrating to the United States in 1990, lovemaking. For his figures seem told The New York Times, after his painting to consume each other with a of two amorously entwined nudes, “The passion so intense as to call to Couple,” displayed in the window of a gallery mind how the female praying in New Haven, caused a small commotion mantis literally eats the male in when a passing pedestrian reported it to the the wake of intercourse. mayor’s office as obscene. Remembering his In another of Kanevsky’s youthful experiences in his homeland for the compositions, for example, a reporter from the Times, the artist added, musclebound Hercules appears “They said, ‘If you continue with this, your to peer over his boulder-like future will be jail and extinction.’” shoulder in distress, as though Culturally concerned citizens were also to call for help, as he grapples quoted: “It just scares me when anyone says with a giant female nude. Her anything about taking art out of a window in expression is contrastingly “The Couple” any way that it is said,” said Phyllis Satin, the placid, her huge cow-eyes almost worst, depending on one’s point of view) owner of two local galleries. “The political bored-looking as she envelopes him with ever went so far in either the grandiosity of feeling in the country is reflected in this small her opulent flesh and strokes his rippling the goal or the effort to reach it as Kanevsky incident. That really saddens me because back with a huge hand as pale as that of the does in a triptych depicting a bearded deity New Haven is such a culturally rich town.” Grim Reaper, although padded –– like the gripping an orb in which human figures take Helen Kauder, the coordinator of arts enormous pink-nippled breast engulfing his the place of land-masses, as a tempest of festival called the situation “incredibly torso –– with flesh. other tiny figures swirl around him like souls disturbing,” comparing it to the fiasco If you are one of those who believe that trapped between Heaven and Earth. Just as that New York Mayor Rudy Giuliani had the modest often have much to be modest bold in conception are paintings in which caused a year earlier, when he opposed the about, you will applaud Kanevsky’s billing classical themes take on a surreal twist as in “Sensation” exhibition at the Brooklyn one antically roiling painting where nude Museum. Amazonian marauders appear to be avenging Apparently not wishing to have this the Rape of the Sabine Women, as they carry tempest in a local teapot turn into a similar off struggling satyrs on horseback. In yet media circus, New Haven Mayor John another painting by Kanevsky the traditional DeStefano told the Times, “We are going to theme of Madonna and Child is given new call the painter tomorrow and offer to display meaning with an image, as monumental the work in City Hall. ” as one of Orozco’s murals, in which the Somehow the offer was parlayed into a black-shawled maternal figure appears to be 2001 solo exhibition of several paintings administering mouth-to-mouth resuscitation by Kanevsky at New Haven City Hall, to her infant surrounded by smoke in a the Mayor reportedly telling the artist, nocturnal war-torn landscape. “Alexander, I hope you continue to challenge Part of the challenge of Alexander us. It would be a dull place if it weren’t for Kanevsky’s paintings is interpreting their people like you.” often dazzlingly intricate compositions, By then Kanevsky, had already challenged combining whole and bizarrely fragmented art audiences in Soho, around the country, human and sometimes animal figures in and as far away as Bologna, Tokyo, and almost orgiastic masses that boggle the eye Dubai with paintings that can sometimes and mind. In other works he applies his come across as combining elements of imagination to specific themes, as seen in his Hieronymus Bosch and Francis Bacon. “Hamlet,” and “Alexander on the Grave of A writer as well as a painter, he had also Achilles,” both acquired by Peter Kyle, the written and (and in some cases illustrated) General Director of the Royal Shakespeare novels with titles such as “Oblivion,” “St. Peter” Globe Theatre of London. As Kanevsky’s “Phantasmagoria,” and “Cancer and newest exhibition in Soho demonstrates, to Schizophrenia,” which, although one has not himself on the headline of his website as a encounter this uniquely gifted Russi émigré’s read them, suggest a literary equivalent of his “Super Renaissance Man.” And you will vision is a singular experience. visual mode. also appreciate the chutzpah (reminiscent of –– Byron Coleman In his solo show at Ward-Nasse Gallery Norman Mailer’s oft-stated Oedipal desire , in Soho offered an extensive selection of “to go ten rounds with Papa Hemingway”) the artist’s oeuvre, giving an idea what all that makes this contemporary painter vow to Alexander Kanevsky, the fuss is about. Like the aforementioned surpass Leonardo deVinci and be “not only www.alexanderKanevsky.com, Bosch and Bacon, Kanevsky appears to be better but the best.” Ward-Nasse Gallery, 178 Prince Street, a maestro of humanist grotesquerie. Nudes Surely not even Schnabel at his best (or through November 14, 2012 NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 17 The Group Show “Endurance” at New Century

he title “Endurance,” which can suggest both her sumptuously brushed compositions. making of human anatomy an alphabet of Tthe effort it takes to create engaging art and The muscularly interwoven forms in the movement comparable to lilting visual music, a the hope that what one makes will have a lasting paintings of Larry Glickman remind one of Indian minuet of twirls and turns, a choreography of the influence, determines the multiple themes of a new Pattern painting and the rugged compositions of body spinning toward spirit in the trajectory of group exhibition curated by Basha Maryanska. the independent Abstract Expressionist Clyfford eternal life. For starters, this show is rich in what can only Still, who thought of himself as something of Another kind of movement comes across in be characterized as conceptual sculpture: Sook Yoo a shaman. For like Still, Glickman appears to the paintings and drawings of Anastasia Hurlin, is an artist who breaks down all barriers between harness the power of primal forces in his fiery whose overlapping network of staccato strokes East and West in her sculptures, characterized compositions, with their flowing shapes and subtle of color evoke the frenetic flamenco rhythms by freedom and playfulness. There is nothing variations of scarlet and purple hues that set off of a curvaceous Spanish dancer in a red dress in frivolous, however, about these pieces, inspired chromatic fireworks when they play off against “Caliente,” or the Baroque folds in the ample skirt by Buddhist concepts of reincarnation, cosmic each other. Although there are no direct references of a topless goddess with a mane of golden curls affinity, and the cycle of life. In Yoo’s “Global to nature in these paintings, one gets a sense of its in another bravura figure entitled “Olive of the Village, a large circular construction of twigs and underlying energies and rhythms in the vitality of Ancients 2.” The relentless motion only freezes to wire, resting on five large boulders suggests a huge Glickman’s fluid brushwork. a stop in Hurlin’s painting “Braceo,” which focuses crown of thorns and both a sense of connected and By contrast, Rohan Baronette takes a precise, in close-up on the beautiful face of a heavily made- universal suffering. hard-edged approach to paint application in up dancer in a fluffy white peasant blouse with her Another innovative sculptor, Belgium’s Luc De abstract compositions comprised of baroque bare arms suspended above her head as she clicks Man, employs diverse techniques, such as bronze shapes flatly arranged on the canvas. Often with her unseen castanets, as though about to exclaim a casting, black marble carving, wood carving and monochromatic or deliberately limited color, they final “Ole!” steel construction, to bring about a harmonious enable the viewer to contemplate them as discrete Dominick Botticelli, a New York born direct synthesis between art and nature. In his series symbols within an overall scheme. They possess descendant of the early Renaissance master Sandro of monumental “Cubes,” installed in the city of a strangely elusive narrative quality rarely seen in Botticelli, is a contemporary surrealist who takes Dendermonde, Belgium, by virtue of a cooperation abstract painting that teases the viewer as he or she on daring themes in his oil and acrylic paintings. between civic authorities and the National attempts to read specific meaning into forms that In Botticelli’s “Luciferic Principles and the Rite of Academy, a combination of transparent materials suggest pieces in a perceptual puzzle –– especially Passage,” Satan perches on a rock in a desolate and negative spaces enables the viewer to enjoy the in two black and white compositions where one landscape where lightning illuminates the sky, scenery framed by the geometric forms. can almost “read” them as silhouettes of heads, reading the Holy Bible to a nude woman who A more figurative approach characterizes the a city skyline, the cars of a train or other actual kneels, at his feet. In another dramatically shadowy sculptures of Kim Blackhawk, who began with objects but must finally settle for savoring them for image Christ reaches out to humanity from the mixed media Native American doll sculpture their unique aesthetic appeal alone, at once ornate cross. Taken together, both paintings epitomize and evolved to complex figures of “Fish Men,” and mystifying. Botticelli’s belief that, “When the light and the modeled in clay, their muscular biceps bulging with In both her drawings and her paintings, Ariadne dark are reconciled within the individual and in detailed veins, their lower limbs replaced by scales Scribetta relies on a free-lowing linear approach to turn in the larger culture, balance and conscious and merman tales. Blackhawk’s anatomical skill define contours, in concert with a lyrical palette of behavior become possible.” makes these hybrid beings surprisingly believable as predominantly verdant green hues. In paintings The semiabstract paintings of Maurice Van they wield three-pronged spears in the manner of such as “Wisteria,” with its flowing, slightly Tilburg hark back to the School of Paris for their King Neptune, their long hair flowing as if ruffled melancholy plant forms and “Stages,” a three- tastefully harmonized colors and mood of all by underwater currents. figure composition depicting phases of feminine pervading calm. Indeed, although Van Tilburg puts Abstract painters in various modes and mediums development from childhood, to young girlhood, a more moral emphasis on the powers of art when also make a strong showing: Inna Linov, a widely to womanhood, organic forms are evoked with a he states that he wishes to create art that will make exhibited artist born in the Ukraine, presently somewhat ornate tenderness. Scribetta’s sinuous him “a good person,” his serene compositions living and working in Stamford, Connecticut, line is like a lasso that she casts out onto the canvas recall Matisse’s idea that a painting should be creates works in acrylic on canvas, featuring to capture subjects and unite her compositions “Like a cozy armchair for the viewer to recline vibrant colors and bold forms. In Linov’s large within its graceful swirls. Her pictures reveal an in.” Indeed his paintings in this show project a “Overcome,” for example, brilliant red vertical unusual sensitivity to all living things that lends restful quality quite unique in the hectic arena of bars dominate the upper part of the composition, them a sense of quiet passion. contemporary painting. while more scumbled white forms with bits of blue In her oil “Après-midi Cafe,” Magda Zawadska Linda Richichi sees painting as a “pilgrimage, pentimento showing through line the lower half of employs a precise faux primitive style with clear flat a journey,” and travels from the Hudson Valley, the picture space. Linov’s approach is spontaneous color areas and detailed drawing skills to evoke a to Tuscan, to Maui in search of inspiration, as and visceral, with crisscrossing scratches scoring well kept garden in which two woman with very well as back in time. In the present show she some of the paint surfaces, adding a tactile appeal different attitudes suggest an underlying narrative. takes the latter route to create a series of portraits to the composition to complement its formal and Despite their ornate and orderly surroundings, of powerful mythic goddesses such as “Kali,” coloristic strength. with well kept trees and flowers, tropical foliage, “Venus,” and “Aphrodite.” The latter portrait is The Polish artist Mira Satryan, on the and a neatly trimmed lawn, the women appear to especially vibrant, with the goddess of love depicted other hand, is a lyrical expressionist whose be incongruous companions. An undercurrent within a circle surrounded by an ornate border luminous reds, yellows, and blues, sumptuously of tension can be sensed flowing between them, amid birds and butterflies but painted in a vigorous brushed, flow like multicolored smoke. There is as one sits up primly under a straw sun-hat in manner akin to Larry Rivers, with some features something transcendent about Satryan’s forms a lounge chair while the other, in some sort of sharply defined while others are sketchier, making and effervescent colors that harks back to the low-cut, short hemmed, slip-like garment sprawls an ancient subject by virtue of an improvisational pioneering abstractions of Kandinsky, Kupka, almost wantonly in a wrought-iron cafe chair painterliness. and others who took inspiration from spiritual near a round table with china pitchers, a bowl of Any de Grab’s paintings, on the other hand, are disciplines at the turn of the century to evoke what strawberries and a basket of fruit. Zawadzka hints distinguished by a sense of fanciful surrealism, as could not be seen in the natural world. Unlike at short, perhaps an entire novel, in a picture of a seen in “Bathing Trumpets,” where the curved many latter-day abstractionist’s there is nothing single moment of eternal stillness. bells of the instruments emerge from water like the affected or false in her approach; she is transmitting Conversely, the block prints and drawings of strange sea serpents, framed by the ornate forms of a sense of cosmic consciousness that she apparently Natalia Koren Kropf are all about movement, as bare black tree limbs on the foreground shore, comes to through a deeply intuitive sense of color seen in her “Circle Dance,” “Ribbon Dance,’ and Continued on page 23 and form that lights up her compositions with the pair of overlapping figures on a red background a vivacious sense of light and life. Although she that she calls “The Human Pull.” Laid down with strives to capture “how fragile everything is” in the economy of a Zen ink master in a swift line, Endurance, New Century Artists Gallery, what she refers to as “a world of passing,” she Kropf’s drawings in particular are possessed of 530 West 25th Street, paradoxically renders the perishable immutable in admirable grace. Indeed, they verge on calligraphy, November 20 - December 8, 2012

18 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 “ArtShare” Brings Art from the Heart to Chelsea “ rtShare,” the fourth group exhibition in and definition perception in any AChelsea of artworks created by children to her forms is artistic context –– but and adults with intellectual and developmental akin to that of most particularly an disabilities including autism spectrum no less a master exhibition one does disorders, cerebral palsy, and epilepsy, once than the French not attend with such again goes beyond art therapy to reveal how painter Georges expectations. such individuals often display artistic talents Rouault, who One was also often comparable with those of unafflicted developed his impressed by the artists. Sponsored by Heartshare Human Eric Reges own outlines “Dude,” a clay figure Kadeja Abdelsadek Services of New York, a 97 year old social through by Kenneth Cheng organization, the participants (some of whom his early with multicolored are residents of group homes, others of whom apprenticeship feathers sprouting out are outpatients), this show, like the previous as a stained glass of its head among ones, reveals a variety of styles. craftsman, while other decorations “Hot Sun,” an acrylic painting by a client Enny apparently suggesting either a named Alethia Capers in acrylic on board is arrived at hers flamboyant East Village a lively expressionist vision in brilliant red, intuitively. punk or a voodoo doll; yellow, and orange hues in which the sense Damien Samuels Enny also has “Choir,” a drawing of light and heart is conveyed not only in the a mixed media by Ronald Gaines in artist’s color choices but also in the indication sculpture in the marker, crayon and of heat waves with several strategically placed show, a clay pen on paper of three Jayson Lewis staccato strokes to the left of the fiery orb face, decorated thin, elongated figures that dominates the composition. Then with stones and that look as though there is Miriam Duncan, who employs a multimedia like they may be singing luscious combination of green, red, pink and a heavily made and dancing with joy at purple hues laid down in bold, gracefully up Lady Gaga having been magically curving strokes, set against a brilliant yellow Tammy Price that she calls ransformed from pencils background, in her abstract acrylic painting “Diva.” into living beings; and on canvas, “Rainbow Wave.” Also of “My Community,” Others take more figurative approaches, as considerable a work on paper by seen in “Eber Acres,” a drawing in colored interest among Lamar Jones, in which pencil on paper by Jacky Wojciechowski, in the three- buildings and figures Jermaine White which a detailed representation of a bovine dimensional are rendered with an figure with a bell dangling from its neck strolls works in almost hieroglyphic across a green lawn wearing an expression Frank Vedi the show is simplicity, yet project that suggests the proverbial “contented cow” “Rapunzel’s the sense of a bustling slogan of the old fashioned Bordan’s milk Castle,” a urban neighborhood. advertisements. Such details as one shed in the sculpture of While no one with a background with a sign that says “Local Edam paper, tape, heart would deny that Cheese” and a larger red barn-like structure sticks, marker art therapy is probably with a sign saying “Guernsey Cows” suggest and crayon useful for the treatment that this charmingly folkloric picture preserves created by Julia –– or at very least the vivid memories of a Heartshare group field Montalbano. recreation –– of clients Brandon Avila trip. Here especially, Wojciechowski, who This elaborate such as those served also has another work in the exhibition, a less Paula Samaroo architectural by social agencies detailed but no less charming acrylic painting fancy with spires such as HeartShare, entitled “Guernsey Cow,” reveals a degree of and towers (one with a drawn window, out of an exhibition like natural talent that suggests the possibility of which the stick-figure of the fairytail maiden Artshare –– at least future artistic success. moon appears, her long locks dangling down from this viewers’ point Also quite impressive beyond the to the ground) also boasts a catwalk with of view –– could also expectations of a specialized exhibition such a guard walking across bearing a torch. It be invaluable for and as this one are two works by a client named is ingeniously designed and possessed of a encouraging those Jennifer Enny. One is an acrylic on canvas singular charm. special talents for whom called “Night Hawk,” although the avian Then there is Rokhaya Rabalais, whose art can become a life- Priscilla Lleanas species it depicts bears more resemblance to painting “Power” ostensibly depicts a pair enriching, and perhaps a night owl. Artistic license aside, however, of yellow and blue crossed swords. But even profitable, activity. it is a strong, beautifully organized picture on further inspection the two objects also There are many more artists and works in that would be admirable in any exhibition resemble the reverse sides of neckties, where the show than can be adequately accounted context, with the formibidable-looking they are stitched together. And since neckties, for here. Some of them are pictured and brown-feathered bird staring out at the viewer like swords, might be considered phallic others the reader can see for him or herself by with an intense and intelligent expression, symbols, one has to wonder if the message visiting the gallery. –– Maureen Flynn as it perches on a thick branch that it grips the artist is conveying, whether purposely with its strong talons, as white clouds float by or intuitively, is that a necktie although less in a deep blue sky. Indeed, Jennifer Enny’s blatant than the blade of a sword, can be a 4th Annual ArtShare for HeartShare, strong, yet restrained color sense and the persuasive instrument of male power. This New Century Artists Gallery, 530 West black outlines that she employs to give weight would be a sophisticated, if not profound 25th St., through November 17, 2012 NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 19 The ASCA Takes the High Line for its 95th Annual Survey he 95th Annual Exhibition of the combination of sharp geometric shapes and everywhere TAmerican Society of Contemporary Artists fanciful signs –– suggesting stick figures that these days, is (ASCA) once again lives up to its title theme morph into musical notes and brightly colored represented by a “Alternate Avenues” by encompassing a wide exclamation points that appear to have slid characteristically variety of methods, media, techniques and off their circular bases –– in his composition graceful styles (some of which are reproduced here, in acrylic and cut mat board, “Flamenco calligraphic work, since the show includes many more works than Sketches.” Here, Rodina’s subtly modulated exemplifying it would be possible to adequately review in an tangerine and blue background adds a lyrical the sensitivity article of this length). counterpoint to his sharply defined shapes. to line and tone Abstraction, for example, comes in many The technique of pointillism is revived by that has won her forms: Neva Setlow employs clear, brilliant Santina Semadar Panetta to create an abstract the admiration Miriam Wills colors and precise yet stylized floral shapes composition in which a multitude of tiny of numerous set afloat on a brilliant blue field in a manner dots of color create a shimmering overall modern Chinese that harks back to Matisse’s “Jazz” series. surface that yields subtle tonal shifts with and Japanese Aptly attuned to her uplifting forms, Setlow’s prolonged contemplation. As its title, “Mystical masters. buoyant collage is entitled “Abundant Joy.” Vibrations,” indicates, however, Panetta Sculptors also Hank Rondina, on the other hand, uses a intends this large oil in a perfectly square show a variety Richard Karp

Bonnie Rothchild Yanka Cantor Dominick Botticelli Estelle Levy Barbara Browner Schiller Esther Berman

of styles: In the unusual mixed media combination of bronze and driftwood, Sally Pitt creates a winningly goofy prehistoric dino- dragon she calls “Calissius.” In another odd mix conjured by Pitt, a rusted and battered metal box Olga Kitt becomes the Pandora’s container for an assortment of miniature Janet Indick Anita Adelman Leanne Martinson headless, limbless semitranslucent dress format to project a spiritual as well as dummies in confectionery hues suggesting optical effect. lollypops for Dada. The title of Doris Wyman’s oil Working in tri-colored metals, Julie Joy painting on hand made paper, “Jemez,” Saypoff, creates a complex “Tree of Life” refers to Jemez Springs, New Mexico. configuration called “Seedlings.” The title Wyman, however, is a quintessentially seems to refer to the tiny human figures sophisticated New York painter, and her perched on the platform-like leaf forms jutting bold approach boils her impressions of out from its sinuous branches. the expansive Southwestern landscape Sachie Hayashi’s white midrocal sculpture Ray Shanfeld down to a few minimalist shapes and “Spirit of the Wind” gives palpable form to subdued yet dynamically delineated an elusive element of nature. Suggesting both color areas. By contrast Maria de flames and the Phoenix that might rise from Echevarria gives us the lay of the land their ashes and take flight, Hayashi’s piece Min Myar and its particular light and color in projects an exhilarating sense of velocity. Then her painting “Barrier Island Dawn.” there is Raymond Weinstein, whose curvaceous However, even while evoking such marble torso “Etude” is a timeless specifics, she creates a spare composition Continued on page 23 with a quiet chromatic simmer reminiscent of Rothko. ASCA’s 95th Annual Exhibition the High Line Rose Sigal Ibsen, a Romanian born Loft, 508 W. 26th St., For show dates visit practitioner of Asian and ink painting ASCA's website at www.ascartists.org Cari Clare Harriet FeBland who seems to turn up in exhibitions 20 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 CLWAC: Over a Century in the Forefront of Women’s Art Advocacy ne of the more striking statements in the eggs. Also outstanding is this veteran sculptor’s OCatharine Lorillard Wolfe Art Club’s “Me with My Dolly,” an affecting childhood 116 Annual Open Exhibition, which recently self-portrait rendered immutable in bronze filled two main galleries of the National Arts from an old photograph. Club was a painting by Fahimeh Amiri called Among the painters, Janet A. Cook “Caged Women.” Painted in acrylics in a displayed virtuoso skill in her large realist oil strongly rhythmical semiabstract manner, it on panel, “Falling with Phaethon’s Horses,” depicted a huge stylized bird in flight by the with its superbly foreshortened female nude light of a crescent moon over a spired city, floating gracefully through space above fanciful carrying in its claws a large cage in which architecture. Another accomplished realist, six women, shawled and faceless, huddled Gaile Snow Gibbs also made an impressive together. Its effect was even more poignant in showing with her oil portrait of a young man the context of a large group show celebrating with an intense gaze and a halo of thick black the freedom of expression for women in the curls, who bears a resemblance to the African- arts that the 19th century philanthropist, for American rock star Lenny Kravitz, painted in whom the club is named, championed for the manner of the Old Masters. And “The much of her life. (Catharine Lorillard Wolfe Poker Club,” a group portrait by Jill Banks, was also the only woman among the 106 of a group of middle-aged to elderly gathered founding members of the of the Metropolitan around a card table portrayed a “strictly stag” Museum of Art when it was incorporated evening from a wry feminine perspective. Also in 1870, and she eventually bequeathed her outstanding among the portraits were: “The Mary Rose O’Connell collection of 140 paintings to the museum, with which the in the club maintains strong ties to shade of this day.) a large This year’s Honored tree Member of the CLWAC was amid a Gloria Spevacek, a sculptor verdant born in New York City of Mexican immigrant parents who has been a board member of the organization since 1993. Known for her marble Elizabeth Brandon Lucille Berrill Paulsen Susan Phillips

Grace Mehan DeVito Andrea Placer Fehimeh Amiri Jill Banks Gloria Spevacek and bronze, Blue Robe,” Grace Mehan DeVito’s painting shimmer of sun-flecked foliage. And in “St. several of which of a modern young woman whose stately Ryfi,” Lucille Berrill Paulsen captures what were on view, bearing recalls some of those who posed for may be the sense of mystification that many of Spevacek’s work John Singer Sargent during the Victorian era; us past a certain age feel in the face of the new is distinguished “Ethan,” Holly Bedrosian’s insightful oil of a computer technology, in her pristinely limned by an unusual serious-looking little boy; “Gerard,” Jeanette oil of a clear-eyed, lightly bearded young combination of Dick’s pastel of a middle aged man in a black man, his head encircled by a gold nimbus formal gravity and turtleneck jersey with an ideally bald pate and surrounded by patterns of cyber-symbols as buoyant visual wit. neat gray goatee looking away rather than out intricate as the decorative schemes of Gustav This can be seen at the viewer, notable for its casual quality, Klimt. particularly in her enhanced by a technique that moves between While choosing a subject that has animal subjects, full-bodied realism and sketchy spontaneity; been branded as definitively by the great Lee Apt such as the bronze “Cowboy’s Prayer,” Andrea Placer’s precisely contemporary realist Wayne Thiebaud as “Cat and Mouse,” detailed colored pencil drawing of two rodeo Continued on page 23 in which the feline figure stares intently at a riders praying before engaging in their perilous computer mouse; and a work in alabaster on a sport; and “Jen in the Garden,” Mary Rose The Catharine Lirillard Wolf Art Club marble base called “Fatherhood,” referring to O’Connell’s full-length figure of a slender 116th Annual Open Exhibition, how it is male emperor penguins, rather than wisp of a brunette girl in a floppy straw hat recently seen at the National Arts Club, the females of the species, who care for their and gossamer white dress standing, sprite-like, 15 Gramercy Park South. NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 21 The Sun-Drenched Passion of Sherry Sweet Tewell herry Sweet Tewell is subsumed by big bold blocks Sa mixed media artist of variegated primaries as who employs abstraction luscious as those in the best in a particularly allusive canvases of Hans Hofmann. postmodern manner to But that all is not merely create works that are fun in the sun of a tropical brilliantly colorful and bohemian haven comes accessible, despite their often across in Tewell’s bitterly nonobjective compositions. titled assemblage sculpture, A native of Kentucky, “He Came On My Dream.” Tewell bravely migrated to It consists of a shapely nude Key West, Florida, several figure resembling the kind years ago. of mermaid ornament once “After divorce, my children used to decorate the prow of away in college, I decided it a ship. Cut off at the thighs, was time to live the life I had her torso artfully defaced with dreamed of. Leaving behind red and blue paint, gagged my family and friends, I at the mouth, it makes an packed only the belongings “Tropical Celebration” affecting, perhaps cautionary, that would fit in my Miata statement about female and my cat, of course, and embarked on my perusal, however, one discerns extensive disempowerment in what is sometimes called journey. Not knowing a soul in Key West, underpainting beneath the thick, tactile the “post feminist era” by an artist who I was excited about pursuing my art career surface that Terrell builds up with layers and candidly refers to how her work has been and becoming part of this quirky artist glazes of acrylic and resin. The green area at affected by the unanticipated end of a long community.” the top of the composition was apparently relationship. The sun and color of the Keys permeates achieved with yellow slathered over a bright “The heart swells with joy and love, the not only her paintings, sculptures, and cerulean blue hue, while in the lower area heart breaks with sorrow and pain,” says murals, but also her textile designs, book the artist allows a golden ocher pentimento Sherry Sweet Tewell, who channels both the illustrations, and other items of applied art to show through her vigorous network of joy and suffering of her every experiences into that she creates in her desire to survive by art bold orange brush strokes. At once sensuous passionate works of art. –– Marie R. Pagano alone and “apply my talents liberally.” and sumptuous, the entire surface glows with Typical of Tewell’s buoyant style is a large subtle chromatic highlights. Sherry Sweet Tewell, Agora Gallery, triptych in her favored medium of acrylic and The sense of pure joie de vivre that Teller 530 West 25th Street, resin on wood called “Tropical Celebration,” achieves through her use of color carries over January 16 - February 5, 2013. in which a plethora of stylized leaf and into works such as “Weaving the Sunset,” Reception: Thurs. January 17, 6 - 8pm frond shapes in a variety of luminous greens, where blindingly brilliant vertical streaks yellows, and oranges merge the color and descend like a waterfall of light; “Slice of light of Impressionism with the vigorous Lime,” its title hinting wittily at the liquid gestural bravura of Abstract Expressionism. refreshment that hard-partying denizens of The GALLERYSTUDIO Tewell also comes up with a vibrant the Keys imbibe to beat the heat, its strong advertising deadline for the spectrum of hues in “Bite of Orange,” composition evoking the local landscape February/March issue is where the composition is almost minimal, and climate with just a few succinct forms consisting, at first glance, of an expansive and luminous hues; and “Some Black,” Jan 9 for color, area of green meeting a smaller area of where three tiny dark areas that could Jan 16 for black/white. orange under a low horizon line. On closer almost suggest silhouetted figures are all G&S Classifieds opportunities WEST SIDE ARTS COALITION (WSAC) established 1979, welcomes new members from all NOHO GALLERY is viewing portfolios in all media for our Chelsea location. Visit geographic areas. There are approximately 14 exhibits per year for Fine Arts, Photography, and Craft Arts. nohogallery.com for application form, or send SASE to Noho Gallery, 530 Music, Poetry, Theater and Dance programs available. Contact info: Tel. 212-316-6024, West 25th Street, NY, NY 10011. email- [email protected] or website- www.wsacny.org. Or send SASE to the West Side Arts Coalition, PO Box 527, Cathedral Station, New York, NY 10025. Visit our ground floor gallery at 96th Street & Michael R. Horenstein Broadway (on the center island) New York City. Open: Wed. 6-8pm, Sat. & Sun., 12-6pm. Attorney & Counsellor at Law ± Arts Law, Provenance Concerns CUSTOM PICTURE FRAMING for artists and galleries. Museum quality, selected ± General Business Law frames & mats. Float & dry mounting, canvas stretching. Jadite Galleries, 662 10th Ave. (betw. 46/47 ± Contract Drafting & Review Sts.) Hours: 12 - 6 pm, Free delivery in Manhattan. 212-977-6190 [email protected] ± Corporate Law & Company Formation ± Commercial Litigation MONTSERRAT CONTEMPORARY ART GALLERY is reviewing artist 437 East 80th Street, No. 27, New York NY 10075 portofolios for its new Chelsea Gallery. National and International artists are invited to submit. Sase, Ph: (212) 517-7340 Email: [email protected] slides, photos and brief artist bio. Send to: Montserrat Contemporary Art Gallery, 547 West 27 Street, NYC 10001 For health care information please contact New York Artists Equity Association, Inc. (NYAEA) at 212-941-0130. VIRIDIAN ARTISTS INC. 3rd International Juried Photography Exhibition: Juror, Nat Trotman, Solomon R. Guggenheim Museum Cash Prizes, Group Exhibition, February 5- 23, 2013. Deadline for entries, Dec. 1. $40./3 images $5. each additional. Download prospectus at Write for information to NYAEA, PO Box 1258, New York, NY 10276 www.viridianartists.com or email: [email protected] or [email protected] 22 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 NEW CENTURY in East Indian dress with her arms raised to Finishing where we began in the downstairs Continued from page 18 embrace various luminous rhythmic forms sculpture gallery, Mary Taylor’s steel piece with sharply pointed mountain peaks (one with symbolic of the title. Figures and symbols “Burrowing Owl IV” is especially notable a triangular portal through which the sky can be are also combined in the watercolor, ink, for the artist’s tactile treatment of each seen) in the distance. “Informismus,” another painting by de Grab pays homage to René and crayon compositions of Margo Mead. individual feather of the creature’s coat, as it Magritte, featuring four figures in business suits, In “Hear No Truth, See No Truth, Speak perches upon one claw on a rough pedestal of with rolled newspapers emerging from their white No Truth,” Mead adopts the old saying, natural stone. Jean T. Kroeber’s marble figure collars where their heads should be. A witty parody, substituting the word “truth” for “evil” “Escape” displays her unique combinations of one supposes, of received information in a world and replacing the proverbial monkeys with contemporary and classical elements. Antonia ruled by mass media. graceful, classically proportioned human figures Layton’s “Mother’s Children,” melds the Maria Angeles Hegglin, born in Cordoba, Spain, gathered around a globe in a metaphysical maternal figure and her three offspring as is a landscape painter whose work is notable for cosmic space. Contrastingly down to earth, Jo- a single organic unit and is carved from a its subtle colors and tactile surfaces, apparently Anna Melrose’s gouache monotype “Dream” partially translucent alabaster material that accomplished with a palette knife. Applying thick impasto directly to the canvas with strong strokes, is a lyrical vision of a rosy, reclining female nude gives the impression of being illuminated from Hegglin achieves a sensuous tactility that lends her in a combination of line and pale, lyrical colors within. “African Tranquility,” a piece in black compositions of lakes, mountains, and leaf laden reminiscent of certain bordello scenes by Jules wonderstone by Jinx Lindenauer is possessed tree limbs an appealing briskness and physical Pascin or Toulouse-Lautrec. of a powerful minimalist sense of form. By palpability. Her paintings are as sumptuous as cake Adding their own visions to a group survey contrast, Lee Apt’s painted mixed media wall frosting. remarkable for its variety: Gary Shaw shows relief “Am I Blue” evokes a funky sense of Digital photography, one of the new frontiers “Attacking Beasts,” a semiabstract composition movement in a manner reminiscent of the of visual art, is employed with particularly poetic that offsets the violence of the artist’s theme downtown Abstract Expressionist and poet effectiveness by Mirjana Kanuric to capture by virtue of the tactile translucence and the Ted Joans’s jazz series. images of a snowy day in Central Park. Particularly appealing is a print of a snowcapped gazebo that glowing colors he achieves in the ancient wax- Figurative sculpture in bronze also runs could suggest a remote outpost in Alaska, until based medium of encaustic; and Lisa Collado, the gamut, ranging from “Samantha the one notices the tall gray silhouettes of apartment whose intricate mixed media and collage Performer,” Barbara Beatrice’s realist full- buildings looming in the distance. Photography memorial to the victims and heroes of 911, a length figure of a compact contemporary also makes an impressive showing in the work of veritable maze of images and fragments of text, young woman in bellbottoms striking the collaborative team of Robin George and Willie amounts to an affecting emotional roadmap. a bodacious pose à la Britney Spears; to Chu who produce surreal scenes that would do –– Maurice Taplinger “Ancient Vessel,” a streamlined semiabstract credit to any painter, as seen in “Fable in Blue” vision of a childbearing woman, all flowing where two images of a pale waif in a ghostly white CLWAC rounded contours, by Mary DeWitt Smith; to gown with neon red hair are juxtaposed in a metaphysical nocturnal landscape of floating red Continued from page 21 Amy Bright Unfried’s “The Spratts (Moebius orbs and distant ruins. Monet did the water-lily might seem a Pair),” with its fluid green form, tactile surface, Then there is Dorota Michaluk, who combines formidable challenge, Susan Philips takes her and green patina; Patricia Heep-Coll’s wittily photographic images of urban skyscrapers own approach to confectionary still life in her convoluted stoneware figure of an elephant, and high-rise residential towers with acrylic or scrumptious watercolor of a display case filled “Lost Elegance,” like many of her wonderful serigraphic line images of idealized youthful faces with colorful cakes and pies, “Sweet Tooth.” animal figures is enlivened by unexpected that suggest the characters in True Romance In its own way, “Stillness,” an oil by Elizabeth negative spaces. By contrast, Jacqueline comics. Like the paintings of David Salle, Brandon also brings an inanimate subject to Lorieo’s “L’Abbondanza” merges smoothly Michaluk’s mixed media compositions employ life with a depiction of wine bottles, flowers, integrated human and vegetal forms in a superimposition to suggest the simultaneity of contemporary urban life, in which one is constantly loose white petals, and fruits within the marvelously organic mass of white marble. carrying diverse impressions and subliminal compartments of an open cabinet, putting a As Gaile Snow Gibbs, the new President afterimages in one’s mind while traversing city new face on still life by arranging its traditional of the Catharine Lorillard Wolfe Art Club streets. –– Maurice Taplinger elements within a grid format usually favored recently announced, “the club’s mandate to by more abstract artists. support and promote the work of professional ASCA Atmospheric landscape subjects also women artists is as strong today as it was 116 Continued from page 20 abound, as seen in “Stone Fence in Winter,” a years ago.” Comprised of two hundred and embodiment of voluptuous femininity. pastel by Alexandra Marinaccio that captures thirty four works of art by artists from across Weinstein turns hard, cold stone into soft, the desolate beauty of a snowy winters day the country, this exhibition was far too large warm flesh with the aesthetic alchemy of a so vividly that one can almost feel the nose- and varied to do true justice here. One can latter-day Pygmalion. By contrast, Marcia numbing chill. In “Tidal Pool” Christine only hope that this review will encourage Bernstein’s abstract mixed media work, Ferreira Friedman employs watercolor to readers to visit the club’s website “Unnamed # 16,” simultaneously suggests a evoke tide crashing against rocks and rising (www.clwac.org) and make a point of visiting classical column and a primitive artifact of a lost mists with splashy spontaneity. By contrast its 117th Annual Open Exhibition in person. culture. Either way, it is a convincingly crafted in “Venice 111,” Margaret Sun uses the –– J. Sanders Eaton and mysteriously thought-provoking object. same medium in a manner akin to the great Then there is Lea Weinberg whose work in Chinese-American watercolor master Dong wire mesh and mixed media “Mother’s Gift” Kingman, to lend a fanciful poetry to the combines organic abstraction with anatomical ornate architecture and bright banners of a FOR EXHIBITION allusion in a manner that suggests life in the sunny canal scene. In “Peter Pan Statue,” AND GALLERY ADS womb before birth. Like Kiki Smith, another Holly Meeker Rom offers a characteristically contact Jeannie McCormack, fresh view of the familiar bronze figure, framed publisher, (212) 861-6814 female sculptor willing to go out on a limb, at [email protected] Weinberg approaches bodily imagery from a by a stone archway and pooled shadows, in its radical perspective. little circular court in the sleepy, leafy reaches FOR DISPLAY ADS Figurative painting also makes a strong of Carl Schurz Park. Then there is Susanna contact Betty Cheung showing here: Roberta Millman-Ide with a Anastasia, who takes a path somewhere in Advertising & Marketing Manager realist work in oil, gesso, and kosher salt (the the middle in “Red Oak with Butterfly,” at [email protected] latter, presumably, as a textural enhancer) called evoking an impression of nature as visceral as “Enlightenment,” depicting a kneeling woman something by Charles Burchfield. NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO 23 ASCA’s 95th Annual Exhibition -2(&+,(5&+,2 “Alternative Avenues” MFKLHUFKLR#JPDLOFRPZZZMRHFKLHUFKLRFRP For show and reception dates visit our website at www.ascartists.org The High Line Loft • (Chelsea) 508 West 26th St. (5D) Tues.-Sat. 11:00 am - 6:00 pm • Thurs. 11:00 am - 8:00 pm Anita Adelman Elaine Alibrandi Joseph Michael Amabile Georgiana Cray Bart Esther Berman Marcia Bernstein Dominick Botticelli Nikolai Buglaj Linda Butti Yanka Cantor Mihai Caranica Cari Clare Lisa Collado Elvira Dimitrij Maria de Echevarria Harriet FeBland David Green Brentano Haleen Sachie Hayashi Helen Henry Esther Ibisch Rose Sigal Ibsen Janet Indick Richard Karp Olga Kitt Olivia Koopalethes Estelle Levy Annette Lieblein Frank Mann Leanne Martinson Margo Mead Jo-Anna Melrose Roberta Millman-Ide Min Myar Hedy O’Beil Santina Semadar Panetta Gilbert Passarella Sally Pitt Lisa Robbins Alan Roland Bonnie Rothchild Hank Rondina Gerda Roze Julie Joy Saypoff Barbara Browner Schiller Neva Setlow Raymond Shanfeld Gary Shaw Uri Shulevitz Allan Simpson Salvatore Tagliarino Amie Ilva Tatem Lea Weinberg Ray Weinstein Marilyn Weiss Miriam Wills Doris Wyman

HEDY O’BEIL Current Paintings

3DIO@M3

January 2 - 20, 2013

November 8 - 29, 2012 %URDGZD\0DOO&RPPXQLW\&HQWHU GALLERY 307 %URDGZD\#6W 1<& &HQWHU,VODQG 307 7th Avenue, Suite 1401, New York, N.Y. 10001 *DOOHU\+RXUV:HGSP6DW6XQSP Tues - Sat 11 - 5 646-400-5254 [email protected] 212-316-6024 www.wsacny.org www.carterburdencenter.org

Subscribe to GALLERYSTUDIO GALLERYSTUDIO 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. 2012 GALLERYSTUDIO 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 24 GALLERYSTUDIO NOVEMBER/DECEMBER 2012/JANUARY 2013 A Gift of Art 2012 Curator: Margo Mead December 12 - 30, 2012

Adrienne Cosner • Elizabeth K. Hill • Yukako • Margo Mead Livia Monaco • Michelle Ordynans • Dammika Ranasinghe Marie Robison • Ava Schonberg • Kehinde Peter Schutz et al

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NOVEMBER/DECEMBER 2012/JANUARY 2013 GALLERYSTUDIO