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Of Time and Neglect and Art

Thu, 05/16/2013 - 11:04am
The Art Scene
By
Marsden Epworth

Avery Danziger is drawn to excess (an observation he seems to like). Take his photographs of a shuttered psychiatric hospital with its peeling, molding, rusting planes, its bone-deep ruin, its pencilled note to no one there. Not for 19 years.
The rambling Harlem Valley Psychiatric Center in Wingdale, NY, closed in 1994, has given up to neglect and the chaos that follows. But Danziger’s images of the walls, the plumbing, the pools of still red water on the floor, the decay are stunning.

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Expressing the Unsaid

Thu, 05/16/2013 - 11:02am
The Art Scene
By
Leon Graham

Long ago I taught mostly Mexican-American high school students in San Antonio, Texas. With reading levels stuck around seventh or eighth grade, they were bored by history and English classes. But after my first year I learned what they liked and were good at: art.

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Minimal Work That Conveys Great Substance

Thu, 05/09/2013 - 11:17am

 
Leon Graham reviews Sam Posey’s recent paintings of women, on exhibit at Ober Gallery 
 
Click here for story and another photo.

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Minimal Work That Conveys Great Substance

Thu, 05/09/2013 - 11:13am
The Art Scene
By
Leon Graham

 

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And Elsewhere in the Art World . . .

Thu, 05/02/2013 - 10:40am

Works by New Hartford resident Bryan Nash Gill — tree sections and relief prints from them — are on view at The Hotchkiss School’s Tremaine Gallery through May 5. For information, call 860-435-3663.

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Out of the Art House, Into the Movie House

Thu, 05/02/2013 - 10:39am
Art Scene
By
Fred Baumgarten

This first in a series of documentaries, “Exhibition: Manet: Portraying Life,” brings major current museum exhibits to the big screen. 
This inaugural film takes moviegoers to the Royal Academy of Arts in London for a show of portraits by French 19th-century painter Edouard Manet.
Directors Phil Grabsky and Ben Harding have recruited “art historian and TV broadcaster” Tim Marlow to act as tour guide, and he strikes a mostly appropriate note of reverence for the art, with just a touch of overeager nerdiness. 

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Photographs on View, From Near and Far

Thu, 04/25/2013 - 10:44am
The Art Scene
By
Jenny Hansell

Delicate light, soft textures and a meditative mood connect the diverse photographs on view at the Gallery Arts Guild in Lakeville. The show, called Poetry in Motion, represents the work of local photographers — among them Jonathan Doster and Marsden Epworth (editor of Compass) and young emerging artists like William Clune. Every artist in the show has a distinct point of view and arresting images.

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Imaginative, Compelling Art

Thu, 04/18/2013 - 11:21am
The Art Scene

Sohn Fine Art’s second annual juried photography exhibition has something for everyone, even a chicken foot.
The foot, exsanguinated and scaled and wrinkled, lies on thick folds of white cloth or toweling, its claws emphasized against the pale background. Anne Mourier-Defalco has made something ominous and frightening. Equally ominous I think is Gene Elling’s “Industrial Lullaby,” with its pristine baby crib in the midst of a dark, dirty auto mechanics garage where a Volkswagen sits brooding on a lift.

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Experiencing Art The Barnes Way

Thu, 04/11/2013 - 10:57am
The Art Scene

The Barnes Foundation, that incomparable collection of paintings, artifacts, furniture and all sorts of hand-crafted objects, moved to its new and controversial home in central Philadelphia in May 2012. It left behind the Merion mansion Albert C. Barnes, physician and self-made millionaire, built to house his collection and shield it from the art establishment he hated. The art now resides within a tasteful, rectilinear building designed by Tod Williams and Billie Tsien.

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Matisse at the Met: Hurry, Sunday is the last day

Thu, 03/14/2013 - 10:29am
The Art Scene
By
Leon Graham

The masterly, ravishing show “Matisse: In Search of True Painting,” winding up at the Metropolitan Museum of Art in New York City is overwhelming in a good way. With only 49 works arranged chronologically and in groupings ­— mostly pairs or trios — we can follow Matisse’s growth from imitator to singular master. In two paintings of the same subject, he can master a style, impressionism for example, in one and then leave that technique behind in the next, both in the same year.

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