Saturday, October 20, 2007

"The Geometry of Hope"

I'm alive and well, Chris, just trying to find daylight here under this pile of work. First, congratulations on your show at Root Division. The work looks fabulous and in the picture you posted you look--dare I say it?--pleased. I hope that's the case. We need to take full pleasure in the exhibitions we work so hard to create.
One of my ongoing pleasures is discovering so much in the art world that I never learned in art school. Discovering Latin American art and artists has been one of those pleasures. I fully intend to write about The Geometry of Hope, Latin American Abstract Art from the Patricia Phelps de Cisneros Collection that's at NYU's Grey Gallery until December 8. This show is not news to you, as you posted an image on September 15--that of Juan Mele's prism-like shaped canvas, with a link to the Roberta Smith review in the New York Times.

Until I can put any serious thoughts down, let me post two images from the show:

Gego: Reticularea Cuadrada 71/11 (the catalog translates the title as "Square Reticularea"), 1971; metal, copper and stainless steel, app 80 x 55 x 22 inches

This piece, above, is a dimensional drawing of articulated metal and wire--you can call it sculpture if you wish--by the Venezuelan-by-way-of-Germany, Gego (aka Gertrud Goldschmidt), who was the subject of a fabulous solo show at the Drawing Center last June. The shadow, so integral to the work, brings full dimensionality to a relief hanging.

Ideia Visivel (Visible Idea), 1956, acrylic on masonite, 23.5 x 23.5 inches

This image is of an easel-size paintingby the Brazilian painter Waldemar Cordeiro. The geometry is based on the Golden Rectangle, an element that shows up in other works as well.
The gallery was extremely touch about photography. When I went to photograph, the student sitting the gallery all but seized my little camera. Something about the artists not wanting the images reproduced. Yet I notice they had no problem using the artists' work for cards and posters, plastering type all over the images. Hmmm.
More on this show soon. Meanwhile, fresh from a tour of the Boneyard--er, the Chelsea Galleries--I posted a report on my blog about the preponderance of shows with skulls and bones. I've called it Skeleton Crew. Take a look.
And one other thing: If you're wondering why I've been so infernally busy, I've become the director of the Second Annual Encaustic Conference, a national event (which I conceived last year) that takes place at Montserrat College of Art just north of Boston. I've been securing speakers and maintaining the blog. Again, if you have a moment, take a look.
And there's that other thing I do. Um, um. Oh, yes, painting.

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