In the midst of many openings this fortnight, a few painting shows stand out for their boldness and comprehension of the history and practice of painting:
Linda Durham Contemporary Art - Opening Friday, May 2 from 5 to 7pm
1101 Paseo de Peralta
On May 2nd, Linda Durham Contemporary Art hosts a reception for Insideout: New Paintings by John Andolsek. (1101 Paseo de Peralta, Friday, May 2, 5 to 7pm) Andolsek, born in Germany and working as a painting conservator as well as an artist, brings a great sense of humor and respect for the painted surface to his work. In 2005, he wrote, "I think that paint is still a totally viable medium. I like the recent quote by Jerry Saltz that states, "painting is this mystical ability to embed thought in a viscous substance.' I mean a good painting is just this little amount of matter that winds up in exactly the right space.1" Admission: I wrote the show's essay.
LewAllen Contemporary - Opening: Friday, May 2 from 5:30 - 7:30 pm
129 West Palace Avenue
LewAllen opens not just two new exhibits but a whole new division. LewAllen Contemporary-which has morphed over the years from the Elaine Horwitch Gallery through many years under Arlene LewAllen to a variety of situations since her death-remains a strong presence in Santa Fe's contemporary art scene. The gallery has just announced its new Modernist department. LewAllen Modern has been appointed the exclusive representative of the Louis and Annette Kaufman Collection of Los Angeles. During the first half of the twentieth century the Kaufmans collected more than 600 examples of Post-Impressionist and Modernist art.
On May 2nd (129 West Palace Avenue, 5:30 - 7:30 pm), Emily Mason: Contemplating Color and David Burliuk: Russian Modernist guarantee a spectacular start to the summer. Emily Mason's abstract pictures are simply luscious. Known for her ability to breech the New York School's expressionist dicta with a remarkably personal rapport with color, Mason brings "a sense of poetry that is lyric, not epic." In visual language, the personal is the political here.
The Gallery's first show from the Kaufman collection opens this Friday. David Burliuk's (1882 - 1967) career spanned perhaps the most radical changes in the art world since the Italian renaissance. Known as "The Father of Russian Futurism", he exhibited with Chagall, Kandinsky and the Blaue Reiter in Munich in 1911, co-wrote the Russian Futurist manifesto, "A Slap in the Face of Public Taste" in 1913, and was part of the influential "Jack of Diamonds" group in Moscow from 1910 - 1918. After fleeing Russia during the Bolshevik Revolution, Mr. Burliuk eventually found himself in the United States where he exhibited at the Brooklyn Museum and the Société Anonyme, among other venues. On May 3rd at 4 pm, well-known art historian Edward Lucie-Smith will talk about the exhibit and its catalogue, which he wrote.
West Palace Arts District - First Friday art walk, May 2 from 5 - 7:30 pm
It's the West Palace Arts District First Friday walk again. Be sure to stop by Manitou Galleries for Crossing Boundaries, a glass show by nine artists that just might prefigure the upcoming NMMA's glass show (Manitou Galleries, 123 West Palace Avenue, 5-7:30 pm), Peterson-Cody Gallery, who will have a solo show by Susan Roamaine (130 West Palace Avenue, 5 - 7:30 pm).
James Kelly - Opening: Friday, May 9th from 5 - 7 pm
1601 Paseo de Peralta
At the Railyard, Johnnie Winona Ross opens Deep Creek Seeps at James Kelly (1601 Paseo de Peralta Friday, May 9th, 5 - 7 pm). Ross builds and works his painted surfaces at great length, and explains his "equal-meaning" process like this:
"Repeating the mark, or the drip, scraping, burnishing, builds a physical history within the painting. I've used this example in the past, but it is still the best way that I know to explain; when you see worn stone steps, whether at an Anasazi site, or the Met, it is interesting to consider the scores of people that have used or using the steps in roughly the same way or seeing the keys on an old piano, worn with use. You realize that you are just part of the stream of history, a large or small part, but you are only moving through It is a humbling, and revealing realization I try to create the same in a painting The painting looks worn, (because it is) I repaint the painting sometimes 150 times, each time removing what I can, the linen is stretched at about the same tightness as the palm of one's hand, I'm pushing on that, it pushes back, I burnish, paint, drip, remove, burnish until it all comes together in an unexplainable way I try to locate the viewer in a history, or at least make them aware of the stream.2"
These subtle works shimmer and haunt our consciousness.
Box Gallery - Opening: Friday, May 9, 5 - 7 pm
1611 Paseo de Peralta
Next door, that is to say, across the tracks and through the muck, Margeaux displays her new work, Perlucere at Box Gallery (1611 Paseo de Peralta, Friday, May 9, 5 - 7 pm). Perlucere is an old form of the word pellucid which means the maximum possible passage of light. Margeaux's photographs are printed on glass or paper overlaid with mylar. Her ability to evoke felt time is heightened by the use of images of dice yellowed from use or apothecary jars stained with old liquids. In the Apparition series a female figure is rendered as less substantial (indeed ghostly) compared to the chairs whose clear rendering implies presence.
Spring Has Sprung!
1. Andolsek artist statement, 2005