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Why Robert Gober's Charles Burchfield Show at the Whitney Matters So Much Pg. 12

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Why Robert Gober's Charles Burchfield Show at the Whitney Matters So Much Pg. 12 SEPTEMBER/OCTOBER 2010 www.galleryandstudiomagazine.com VOL. 13 NO. 1 New York GALLERY&STUDIO , 1961–65. Watercolor, gouache, charcoal, and graffito on lightly textured white wove paper , 1961–65. Watercolor, Dandelion Seed Heads and the Moon faced on ¼-inch thick laminated gray cardboard, 56 x 39 5⁄8 in. (142.2 99 cm). Karen and Kevin Kennedy Collection. Why Robert Gober’s Charles Burchfield Show at the Whitney Matters So Much pg. 12 MORE MAX’S KANSAS CITY MADNESS FROM ED MCCORMACK, Pg. 19 VINCENT ARCILESI THE RHYTHM OF COLOR - 42” x 18” “Venus at the Roman Forum” - 09, oil on canvas, 78" x 60" LEE CHABOT Abstract Conception Arcilesi in Rome - SANDY FRAZIER YUTA STREGA October 19–November 7, 2010 Lee Chabot © CORDES YORIO Reception: Tuesday, October 19, 5–8 pm OCTOBER 5 - OCTOBER 26, 2010 Reception: Thursday, October 7, 6 - 8 pm 530 West 25th St., Chelsea, New York Broome Street Gallery 212-226-4151 Fax: 212-966-4380 498 Broome Street, New York, N.Y. 10013 www.Agora-Gallery.com Tuesday - Sunday 11am - 6pm 212 226 6085 [email protected] GALLERY&STUDIO SEPTEMBER/OCTOBER 2010 Photographs by Paintings by Nam Chun Cho Kwija L. Cho October 4 - 29, 2010 Reception: Thursday, October 7, 6 - 8 pm INTERNATIONAL CENTER in New York, Inc. 50 West 23rd Street, 7th Floor, New York, N.Y. 10010 212 255 9555 Gallery Hours Mon. - Thurs. 11am - 8pm • Fri. 11am - 7pm • Sat. 9:30am - 3:30pm Brigitte Reggie Andrea October 19th–30th 2010 Mixed Opening Reception: Thursday October 21, 6–8 pm Media Gallery Hours: Featuring: Tuesday - Saturday 11am–6pm Andrea Shapiro New Century Artists, Inc. Brigitte Schlachter 530 West 25th Street, Suite 406, 4th Floor Reggie Lerman New York, N.Y. 212 367 7072 ASIAN ARTS & CRAFTS Coming Next Issue: Offering a variety of artifacts Another excerpt from depicting Lord Ganesh Visit our store Ed McCormack’s memoir and a rich MAILBOXES assortment of & BEYOND INC. Hoodlum Heart Asian specialty A full supply of shipping items and needs and services antiques. 217 East 85th St. [email protected] New York, NY 10028 Tel 212 772 7909 The GALLERY&STUDIO advertising deadline for the November/December/January issue is October 4 for color, October 11 for black/white. For subscription information, call 212 861 6814 or visit www.galleryandstudio.com Time to Say Yes to “No!art” uring the summer months, a time of casually curated group shows that Dare often the art world version of garage sales, historically significant solo exhibitions are a relative rarity in commercial galleries. For this reason, a bracingly nasty selection of early work by Boris Lurie (1924-2008) at Westwood Gallery, 568 G S Broadway, in June and July, was a welcome treat. & Lurie, a young survivor of Hitler’s concentration camps (his grandmother, Highlights On the Cover: Artist/curator Robert Gober ferries forgotten master Charles Burchfield from the murky backwaters of Regionalism into the modernist mainstream, pg. 12 Plus: More memories of Max’s notorious Back Room from a former inmate, pg. 19 mother, and sister weren’t as lucky) who arrived in New York in 1946, was one of the originators, along with Sam Goodman and Stanley Fisher, of “No!art,” a grass roots movement that was an early 1960s precursor of New Wave, Punk, and other transgressive later movements. Their “Doom” and “Vulgar” shows at the March Gallery brought funky tidings of East Village Future to the 10th Street gallery scene. But like Wallace Berman’s West Coast Beat tribe, they were too hot for the art establishment of their time to handle. Today, Lurie’s altered porno photomontages, pinup collages, weird shoe fetish sculptures (like his colleague Goodman’s shit sculptures) click right into the zeitgeist. –– The Editors Anne Kolin, pg. 5 Out of the Archives at CFM, pg. 8 von Schmidt, pg. 20 GALLERY&STUDIO An International Art Journal Bob Tomlinson, pg. 21 PUBLISHED BY ©EYE LEVEL, LTD. 2010 ALL RIGHTS RESERVED 217 East 85th Street, PMB 228, New York, NY 10028 (212) 861-6814 E-mail: [email protected] EDITOR AND PUBLISHER Jeannie McCormack MANAGING EDITOR Ed McCormack SPECIAL EDITORIAL ADVISOR Margot Palmer-Poroner DESIGN AND PRODUCTION Karen Mullen Vincent Arcilesi, pg. 17 CONTRIBUTING EDITOR Maureen Flynn www.galleryandstudiomagazine.com Michéle Vincent, pg. 24 2 GALLERY&STUDIO SEPTEMBER/OCTOBER 2010 SEPTEMBER/OCTOBER 2010 GALLERY&STUDIO 3 Abstract Allusions: The Métier of Francis Dosne was primed for Francis small semi-translucent squares of color set IDosne’s present retrospective against a vibrant blue field. Subdued blues, at Pleiades Gallery by his earlier purples, and smaller areas of green, form a exhibition this past Summer backdrop for brighter red and deep yellow at the Manhattan Graphics hues that, together, emit a heat similar to Center in Tribeca. That smaller that which emanates from the burnished show of Dosne’s silk screen flesh tones in the nudes of Modigliani. prints, with their precise yet Spilling down from the upper right fluid linear forms, luminous corner of the composition and sweeping stained glass colors, and sublime horizontally across its center, these brighter formal compositions, focused shapes evoke the sense of a reclining figure on an essential aspect of his as palpable as that in Goya’s “Naked oeuvre. What it demonstrated Maja.” Yet, that Dosne magically conjures most clearly was the European the curvaceous contours of the courtesan modernist roots of this versatile “Odalisque Squared” (as well as a suggestion of her reflection in a contemporary sculptor, been best known to many of us. mirror in the upper left area of the canvas) printmaker, and painter, who was born in Although Dosne had the good fortune, with sharp-edged, stringently geometric Troyes, France, but settled in the United as a young man in Paris in the ’40s, shapes, removes even the smallest hint of States, where he studied at the Art Students of studying with Fernand Léger, his salaciousness from the composition. League in the early 1960s. prowess as a painter has been somewhat Although there are several other reasons Dosne’s bio tells us that he also joined underplayed up to now. Since his great to savor this show, one of the most novel the studio of René Lavaggio, in the 1980s, modernist teacher also abstracted from is that, in “Odalisque Squared,” Dosne to perfect his stone carving technique, then female anatomy, the Leger connection accomplishes the formidable task –– rare carved local marble at Dellatolas Marble comes to mind particularly in relation in odalisques, which traditionally depict Studio, in Tinos, Greece, and in New to Dosne’s oil on canvas “Odalisque beautiful concubines and harem slaves York City, “eventually made the Sculpture Squared.” However, the question of ––– of finally making the viewer regard the Center School and Studios, where he influence is irrelevant here; for while female nude as a purely formal entity. was on the board of directors, his artistic Leger’s tubular-limbed nudes remain –– Ed McCormack home.” And indeed it is as a sculptor, largely recognizable, as its title indicates particularly concerned with the play of light Dosne takes abstraction much further into Frances Dosne, Pleiades Gallery, 530 West 25th and shadow on smoothly flowing concave the realm of pure geometry. Street, 4 fl., September 7 thru October 2. and convex forms, that Dosne has long His composition is made up entirely of Reception: Saturday, September 11, 3 to 6 pm. Mexican Painter Marcela Cadena’s Vibrant Vision rom the evidence of the work to be at the bottom, patches here and there in the manner of Fseen in her upcoming exhibition at separated by pentimento. “Alma de Color” is a subtly Agora Gallery in Chelsea, Marcela Cadena, a staggered sumptuous painterly tour de force. who has already exhibited extensively and black and Similarly forceful in execution and who was also featured at Art Shanghai in white impact is “El Hombre,” in which the pièce China earlier this year, is among the best “horizon de resistance is the slightly asymmetrical and brightest of the present generation of line.” linear outline of a roughly inscribed brown young Mexican artists. However, as in rectangle occupying the center of the Often working with a spatula, Cadena the case of the composition like an almost empty picture applies oil and acrylic pigments to canvas older painter, frame. (One might cite here a suggestion in bold, sometimes barely modulated areas even when of a witty young female artist’s wry take of color. Favoring bright hues because, as organized on the male principle, although such she puts it with characteristic directness along the lines interpretations are always subjective when it “Mexico is a colorful country,” she sees of landscape, comes to abstract painting!) “El Hombre” abstraction as a conduit for emotions that Cadena’s large Then there is “Entre Suenos,” where resist verbal translation. But one should not canvases invariably appear more numinous an uninflected yellow field at the top of be deceived by the brilliance of her colors than earthbound. the canvas is intersected by looser area of into thinking that all of the emotions in Distinctly more “busy” than the vertically streaked aqueous purple scored Cadena’s paintings are uniformly happy, previous work in painterly terms is an and scraped where the two colors meet in a since she also cites the deaths of loved ones in oil and acrylic on canvas titled “Alma manner suggesting splashing surf. as having influenced her work. Obviously, de Color.” Its central motif is an inner In other paintings as well, such as the however, she does not abide by the cliché rectangle consisting of multiple rough majestic “Inundando el Silencio,” where that only mournful colors can express loss, horizontal strokes of frosty white impasto luscious areas of red and anxious strokes seeking instead to take the path of spiritual inflected with purple and set against a of yellow bleed faintly as reflections on ice transcendence.
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