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Hobohemian Flophouse NOV/DEC 2009-JAN 2010 www.galleryandstudiomagazine.com VOL. 12 NO. 2 New York GALLERY&STUDIO HOBOHEMIAN FLOPHOUSE: The Carlton Arms Hotel, where each room is a funky art installation IVL\PMZM¼[IKI\JW`LW_VI\\PMMVLWN\PMPITT Q[6M_AWZS+Q\a¼[TI[\TW_ZMV\PQX[\MZPI^MV Ja-L5K+WZUIKSXO _Q\PXPW\W[Ja,IZMS;WTIZ[SQ Danièle M. Marin Image Essay January 5 - 30, 2010 Reception: Saturday, January 9, 4 - 6 pm 530 West 25th St., NYC, 10001 Tues - Sat 11am - 6pm 212 367 7063 www.nohogallery.com GALLERY&STUDIO NOV/DEC 2009-JAN 2010 Teona Titvinidze-Kapon “Love Tree,” 39"x27" Tree,” “Love December 1 - 12, 2009 Reception: December 1, 5 - 7 pm Gallery Hours during exhibition: Tuesday through Saturday, 2 - 6 pm Gelabert Studios Gallery 255 West 86th Street, N.Y.C. 10024 212 874-7188 www.gelabertstudiosgallery.com www.TeonaKap.com G&S Robert Gaudreau, pg. 29 Highlights On the Cover: Rad art all over the rooms and halls, body bags bouncing down the stairs, rumors of ghosts, and even (for a time) a resident serial killer — staying at the Carlton Arms Hotel is a rare aesthetic adventure. –Page 22 Robert Cenedella, pg. 14 Anowar Hossain, pg. 31 TUTEN, pg. 8 Judith Zeichner, pg. 6 Teona Titvinidze- Kapon, pg. 9 John Fischer, pg. 5 Ailene Fields, pg. 12 Marianne Schnell, Levan Urushadze, pg. 7 pg. 28 GALLERY&STUDIO Subscribe to An International Art Journal GALLERY&STUDIO PUBLISHED BY $22 Subscription $18 for additional Gift Subscription $44 International ©EYE LEVEL, LTD. 2009 $4 Back Issues Mail check or Money Order to: ALL RIGHTS RESERVED GALLERY STUDIO 217 East 85th Street, PMB 228, New York, NY 10028 & (212) 861-6814 E-mail: [email protected] 217 East 85th St., PMB 228, New York, NY 10028 Phone: 212-861-6814 Name EDITOR AND PUBLISHER Jeannie McCormack MANAGING EDITOR Ed McCormack Address SPECIAL EDITORIAL ADVISOR Margot Palmer-Poroner DESIGN AND PRODUCTION Karen Mullen City CONTRIBUTING EDITOR Maureen Flynn www.galleryandstudiomagazine.com State/Zip 2 GALLERY&STUDIO NOV/DEC 2009-JAN 2010 NOV/DEC 2009-JAN 2010 GALLERY&STUDIO 3 The Two-Fisted Aesthetic of Hendrik Smit f what the poet and critic Frank O’Hara and purple-violet twisting and turning like Ionce referred to as the “crisis of figurative glistening entrails. as opposed to nonfigurative art” dogged Smit is a burly fellow, and given the his illustrious fellow countryman Willem swirling circular energy that animates de Kooning throughout his career, the even the rectangular works that make up contemporary Dutch painter Hendrik Smit the bulk of his oeuvre, one imagines him would appear to be such a naturally abstract going at the painting with both arms, like artist as to suggest that he hardly, if ever, one of those great windmills so iconic to considered it. In the face of all the self- the Netherlands. Indeed, his two-fisted protective equivocation of postmodernism, approach almost single-handedly (if that’s Smit continues to churn out vigorous not a contradiction in terms) appears to gestural abstractions with unflagging restore the macho factor to the Abstract conviction in his latest New York solo show Expressionist ethos –– political correctness at 532 Gallery Thomas Jaeckel, 532 West be damned! For, like it or not, there seems “Untitled” 25th Street, from October 29 through to be as much testosterone as turpentine symbols and all. November 28, 2009. (Reception November mixed into Smit’s oil pigments, and his Here, as in other works in this show, the 5, from 6 to 8:30 PM. ) handling of acrylics is no less muscular. viewer is practically wrestled to the gallery A tondo or two is invariably included in Yet that, admittedly, is a subjective floor by the artist’s sheer exuberance. There Smit’s exhibitions and is always a good place interpretation of his way of painting from is nothing passive about his compositions, to start discussing his work, since he is one the inside out, athletically and from the gut, which by their unrelenting intensity demand of the very few artists today who regularly so to speak, so that his compositions, while our full engagement. For one thing that paints in the round, and he does so very nonrepresentational, can seem as violent as can be said with absolute certainty about dynamically indeed. A circular format seems Soutine’s flayed beef carcasses. Another way the paintings of Hendrik Smit is that in to suit his freewheeling style, perhaps because of looking at his paintings might be to say them, as Fairfield Porter once remarked its perfect symmetry suggests limitless space that they are lyrical rather than brutal, and about another painter, “Energy is a bridge and enhances the sense of expansiveness in that one especially grand untitled canvas in to whatever is essential.” Yet, if the notion his vortex-like compositions. the present exhibition, in which the roiling, of the noble savage occurs to one in the Eschewing brushes, he paints directly boldly torn and splintered color areas presence of Smit’s work, it is promptly with his hands and fingers, which gives his suggest, if not an earthly landscape, perhaps put to rest by the degree of aesthetic compositions their visceral impact, with a raging rainbow-colored sea, is symphonic sophistication and sheer painterly panache bold, thick strokes of red, yellow, blue, in the manner of Beethoven, clashing yellow on display. –– Byron Coleman OPENING New Century Artists Gallery RECEPTION www.newcenturyartists.com Friday, Exhibit open November 6 4 pm - 8 pm daily Tuesday- Saturday ARTSHARE November 3-14 530 W 25th St., Suite 406 FOR 11 am - 6 pm Bet. 10th & 11th Ave. www.heartshare.org New York, NY 10001 HEARTSHARE (212) 367 - 7072 ASIAN ARTS & CRAFTS Offering a variety of artifacts The GALLERY&STUDIO depicting Visit our store advertising deadline for Lord Ganesh MAILBOXES the February/March issue is and a rich & BEYOND INC. assortment of A full supply of shipping January 8 for color, Asian specialty needs and services January 12 for black/white. items and 217 East 85th St. antiques. New York, NY 10028 [email protected] Tel 212 772 7909 4 GALLERY&STUDIO NOV/DEC 2009-JAN 2010 John Fischer: Renaissance Man of the Digital Revolution aving long been enamored of the with the similarly large color prints more set out to HBelgian-born American artist John familiar to Fischer’s oeuvre) possessed a incorporate Fisher’s transcendent and eclectic aesthetic spare elegance akin to Asian ink paintings. such art vision, but having somehow always Indeed, the effect was enhanced by their historical thought of him as an elusive citizen of presentation as vertical scrolls, rather references cyberspace, I did not quite know what to than framed under glass in the usual in his own expect when I learned that the legendary Western manner, with the graceful linear work, he says artist, who has been more active in Europe forms swirling down the center of the that he often than the United States in recent years, composition, surrounded by generous “discovers” would be having an exhibition at Artmus expanses of white paper. them in the Studio, 75 Warren Street, from November At first glance, too, Fischer’s forms course of 5 through 28, when I visited his studio to can appear spontaneous, like those that composing preview some of the featured works. Zen masters sometimes lay down with his Although his distinguished history as a single broad stroke of a long-handled “electronic an avant garde jazz pianist and composer brush as wide as a broom. But on closer paintings” and a poet, as well as a computer art inspection, one sees that the effect has on the pioneer, and a sculptor who attracted been achieved not with one swift swish of computer. widespread media attention for working diluted black carbon ink, but with many One of with bread (long before his namesake, the minute, long linear strokes of graphite, the more much hyped young art star Urs Fischer, laid down painstakingly over an extended striking, if created his “Bread House”), might have period of time on a much smaller sheet incongruous, suggested a figure more in the manner of paper. Fischer then scans and enlarges examples of John Cage, Moondog, or Sun Ra, in his drawing in several sections, which can be seen the vital and sturdy flesh, Fischer turned he reconnects seamlessly to achieve the in another out to bear a striking resemblance to the monumental scale of his finished prints. archival mature Norman Mailer, back when that The resulting image replicates in every inkjet print pugnacious author was still in fighting detail the subtle tonal modulations and called form. And, like our old acquaintance granular tactility of the graphite medium, “Moose Number 5- 1992 graphite on Charles Mingus, Fischer radiated the which Fischer deftly manipulates to make Variations,” paper Gicle archival digital physically palpable if not immediately the sinuous ribbon-like shapes appear in which a print 2007 40.5" width 72" explicable energy of eccentric genius, to ripple and undulate in deep space, cartoonishly height rather than hugging the picture-plane stylized frieze of moose heads harks in the flat, two-dimensional manner of back to the starkly silhouetted flat color a calligraphic character. Thus rounded areas in Braque’s post-cubist still life out and objectified, Fischer’s forms take compositions. And while Fisher also cites on a figurative allusiveness, or –– in the Matisse, Paul Klee, and Mark Rothko case of some drawings, comprised of as figures who have influenced him two adjoining configurations of close- coloristically, such references are but a set lines side — suggest two figures small part of his overall artistic project, standing side-by-side as a couple.
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