"Indian Summer" in New York City

Well, it was going to be a summer show, but a splendid tribute to the late Babe Shapiro stayed up through August, so time and title shifted to the Indian Summer Show. It certainly felt like a summer show, though: 84 degrees and tropically humid when we gathered in the early evening at the East 29th Street gallery, just off Park Avenue South. 

Visible here, 12 of the 24 artists in the show 

I'm one of 24 artists in the exhibition, so this is not a review, not even a report, simply an annotated walk-through to show you some great work assembled under the exquisite curatorial eye of Doris Mukabaa Marksohn at dm contemporary.

Entering the gallery: Marietta Hoferer, P1, left, and Ruth Hiller, Rig and Bone

Opposite Hiller: Fated-2 by Louise P. Sloane and a peek into the galleries

Panorama of the front gallery. From left: Linda Cummings, Matthew Langley, Duncan Johnson, Cheryl Yun
Click pic to enlarge

Linda Cummings, Mentum I

Matthew Langley, Indian Summer

Duncan Johnson, Rain Dam 

Between the galleries: At farthest left you can just glimpse Hiller's losenge-shaped paintings, plus Cummings, Langley, Johnson. At right, the installation in the second gallery
(Both galleries are faced with a huge wall of glass, so my iPhone camera is duking it out between daylight and the gallery lighting)

The second gallery, with Carole Freyz Gutierrez, Edward Fausty, Macyn Bolt, Steven Baris, Richard Bottwin 

Carole Freyz Gutierrez, Orbs 1 & 2

Edward Fausty digital pigment photographs

Foreground: Zoe Keramea sculpture; Steven Baris painting behind it,  Indra's Circle 2, and Bottwin sculpture

Barris's video installation, Regardless of Topography

Macyn Bolt, Skipstep (cc), top, and Skipstep (ab); Bottwin, Joanne Mattera

Richard Bottwin, Scrim #1

Joanne Mattera, Silk Road, installation of nine paintings

Stepping back, this panorama includes Dennis Beach, far left, and a tiny corner of Michael Kukla's sculpture, which is shown below

Above and below: Two views of Kukla's carved marble, Untitled (for Zaha)

Dennis Beach, Wedge #3

Beach on the terrace, between his wall sculpture and the Freyz Gutierrez painting

Dennis Beach, Squeeze

The entrance to the gallery is just to the right of Ruth Hiller's paintings, but we're proceeding to the small back gallery. Martin Mullin's painting is ahead

Martin Mullin, Golden Book (Untitled), with Fran Gormley in the third gallery

Fran Gormley, Silent Rhythms 5

Two vertiginous paintings by Rob DeOude, Tantrum Mash-up, top, and Misty Limit  

Opposite DeOude is this wall of work. At left: two by Tomomi Omo, Vapors and Circular Skies III; center top: Willy Bo Richardson, Bathers 5; two center bottom: Elizabeth Duffy, Maximum Security: Riker's Island and Maximum Security: Florence B;  right: Youjin Moon, Reflection

Small panorama with three untitled paintings by Katsumi Suzuki at left and a glimpse of the Sloane painting that we saw when we entered the gallery

So I refrained from commenting on the show, but I will say here that I think it's a well-conceived exhibition that brings together a variety of work in relationships of color, size, and material sensibility. But don't take my word for it. See it for yourself. The Indian Summer Show will be up well into the fall, through November 5. Hours and info here.


"I Always Return to Hue"

Newbury Street view of my solo show st Arden Gallery, Boston

So my big plans for a summer of reporting from Massachusetts were cut short when I launched into overdrive to complete work for this solo show. (I did manage two posts, a comprehensive Visit to the Outer Cape and a splendid installation of pattern and light at the Peabody Essex Museum.) Now we're standing on Newbury Street in front of the display window at Arden Gallery, where my solo show, I Always Return to Hue, is up through September 30.

I've been working on the Silk Road series for over a decade. There are other series and projects, of course, but I continue to go back to these small color fields, hence the exhibition's title. The series, which I began in 2005, was inspired by the shimmery quality of iridescent silk but quickly evolved into more expansive explorations of hue and surface, translucence and texture. In plying a richness of paint against the austerity of a (very subtle) grid, I set in motion a small-scale dynamic in which more and less jostle for primacy.

In  the window, clockwise from top right: Silk Road 350, 349, 352, 351, all 2016, encaustic on panel, 18 x 18 inches
The bisected field is new

Panorama from the entrance
A few individual works below:

Silk Road 312, 2015

Silk Road 347, 2016

Silk Road 331, 2016

Silk Road 332, 2016
All encaustic on panel, 12 x 12 inches