On Saturday, September 15th, a group of artists will open five solo shows (sculpture and painting). The works will be on display through October 7th with a reception for the artists on Saturday, September 15th from 6:00 until 8:00 p.m.
Main Galleries & Sculpture Garden
Teresa, 1993, oil on masonite, 60 x 40 inches
"I don’t like writing artist’s statements. I really don’t know what to say. I’m not even sure at this point what I’ll be showing.
Some heads—maybe. I guess I try to get some “form” into my heads—at least I’m less suspicious of form than I am of formlessness. Maybe “character” too—but whose character? I don’t think I have any special insight into the “characters” whose heads I’m sculpting. To what extent does my character get into these heads? Who am I? I sure don’t know.
Am I a realist? Or a copyist? A copyist trying to be a stylist? It is kind of fun asking these questions. I’m OK thinking of myself as an art student, but then I think some more.
I have a friend, Sally, who was a professional dancer for most of her life and also taught dance — but her knees now don’t work the way they used to. She takes ballroom dance classes at the Fred Astaire Dance Studio West Side [sic] in NYC. In 2011 she was given a gift of introductory lessons there, a place she’d walked past almost without noticing for years. I get to see her dance for 2 or 3 minutes at the annual recitals Fred Astaire puts on. She’s amazing—and gets more amazing every year. She also writes about her experience at Fred Astaire—about who she is, what she thinks. Her teachers tell her she thinks too much, but she won’t stop thinking. Two recent essays are “Taking the backward step,” and “‘You can only follow my body.’” Suggestive/mysterious titles. In many ways I follow—or try to follow—Sally’s lead.
I can’t thank John Davis enough for showing my work.."
Jock Ireland, 2018
Ground Floor Carriage House
upnatm, 2015-17, oil on canvas, 64 x 51 inches
“Bellinger’s almost half-century practice has been committed to the exploration of abstract/non-representational painting and the ambiguous space inherent in the concept of ‘abstraction’.
From early icon-shaped minimalist panels trimmed with gold leaf as a P.S.1 studio resident in the late ’70’s, to thickly manipulated paintings rich with Byzantine color, the underlying architectonic structure found in his current works is evidence that Bellinger’s practice is rooted in a love of both cosmology and art history.
Visceral and complex, these wild combinations are anchored by the shaped formats Bellinger creates, revealing their essence, what has been lost and what remains, never wavering or compromising.
In relative seclusion and anonymity, Bellinger’s work has the freshness borne out of a desperate search for meaning and the authentic.”
…Michael David, Painter, Curator, Artistic Director David &Schweitzer Contemporary/Life on Mars Gallery
Carriage House, Second Floor
Selected Works 1998-2015
Coming Attractions, Noise 7, 2011, mixed media collage, 23.75 x 19.25 inches
Arnold Mesches (1923 - 2016) has had over a hundred and forty solo exhibitions, as well as countless group shows. His work hangs in the permanent collections of the Whitney Museum of Art, the National Gallery, the Metropolitan Museum of Art, among others.
Before tackling any major painting, Mesches produced dozens of studies, many of which are exhibited here. Arnold often believed that his studies surpassed the final paintings. In this intimate form, he was able to instill into each brush stroke an emotional intensity and playfulness.
For example, Study for Coming Attractions: Chandelier 2 is actually a collage. He first painted a favela, a Brazilian slum. Separately, he painted tiny chandeliers, cut them out, and glued them over the scene. The result is a three-dimensional study of opulence and poverty.
In Noise #7, a painted hand is open in the universal gesture for STOP. The hand floats over a collage of anti-war protests. Again, what interested Arnold was not only the clash of media but the juxtaposition of archetypes.
Other works in this exhibition were painted for pleasure with no intention of becoming anything but themselves. Landscapes, cityscapes, shoes, palette tables are all imagery that Arnold constantly returned to. In many ways, these works represent an artist allowing himself the unadulterated joy of painting.
Jill Ciment, 2018 all work courtesy Mesches Estate
Carriage House, Third Floor
Daniel John Gadd
Between the Tides
New Moon, 2018, oil, stain, mirrored glass, wood, glue and string on wooden panel, 33 x 30 inches
“My work blurs the boundaries of painting and sculpture, abstraction and figuration, as
well as “high” and “low” art. This aesthetic is borne out of my life’s histories, personal
struggles (and triumphs over them), family, and my love of the act of and history of
painting. My aim is to create work that expresses a range of human emotion; at once
violent, fragile, sensitive, fierce, vulnerable, and compassionate.
Mirrored glass, wood, paint, and found objects are built up and broken down through a
persistently regenerative process highlighting the cracks, stains, and tears. These
marks become symbols of a fracturing redemption, a complexity with an acceptance of
all of what we are, and in the end, what makes us human.”
Daniel John Gadd, 2018
Carriage House, Fourth Floor
Slow Burn, 2018, oil and metal on board, 6 x 8 inches
Lizbeth Mitty’s body of work — described by New York Times critic Ken Johnson as a combination of “painterly verve and hellish beauty” — has long been concerned with examining and amplifying the intrinsic abstract beauty of deteriorating or overlooked corners of urban architecture and interiors. In 2015, one object, the chandelier, rose up from detritus to dominate and finally stand alone in her present body of work. Spectacular, illuminated and intricate, the chandelier is evocative of grandeur. For much of her career, scrap yards and other sites of urban devastation fascinated the artist as locations of organized chaos, formally beautiful, yet apocalyptic and terrifying. Similarly, the chandeliers speak of decadence, sadness, elegance, death, and hope.
These paintings incorporate the by-products of studio life such as paint tubes and metal cans. Cut-crystal shaped strips of glimmering metal translate into lighted chandeliers, reflecting color. Studio debris is employed to evoke the beauty of light - an unintended irony and a statement about the mutability of things in times of excess.