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

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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 ´)XML0RXQWDLQ)XOO0RRQµ[FPRLO 1RYHPEHU'HFHPEHU 5HFHSWLRQ6DWXUGD\'HFHPEHUSP :HVWWK6W1<& 7XHV6DWSP ZZZQRKRJDOOHU\FRP 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.
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