On Saturday, September 19th the gallery will have five solo shows (sculpture and paintings). The work will be on display through October 11th with a reception for the artists on Saturday, September 19th from 6:00 until 8:00 p.m.
“I’m thinking about my upcoming move after over forty years of living in Soho. This show opens right in the middle of it (the move.) I’ve been putting off packing up long term painting storage for as long as possible, so it seemed like the perfect time to have this show of works on paper.
The earliest work in the show dates to 1983. Strictly speaking, that’s not forty years, but it’s the year I found a roll of photo backdrop paper here on Crosby Street and started making plein air drawings. It’s also the year I met John Davis and showed works on paper at the Drawing Center in New York. The next year I showed paintings based on these drawings in my first one person show with John in Akron, Ohio.
Landscape remains a primary focus, even though my recent shows of abstract fruit diptychs would suggest otherwise. Plein air drawing is more challenging these days, what with aging knees and the ubiquitous Lyme tick, but though I’ve tried referencing photos, what really interests me is a response to being there and to being in the moment.
Daisy Craddock, 2015
Sculpture Garden and Carriage House
Stacks – Cylinder Series
“This exhibition reflects my continued exploration of the mysterious, totemistic energy of cairns – those arranged piles of stones found all over the world for thousands of years by various cultures having such purposes as shrines, burial markers, road signs and navigational aides.
Compared to my earlier, more geological stacks, this series of sculptures become more abstract with a vocabulary of weathered and textured cylinders which I’ve stacked into megalithic columns. Each cylinder is different and many are broken – perhaps cracked and broken with time and stress. These columns are punctuated with industrial looking black rings which serve as a contrast to the hand crafted, aged appearance of the others. Perhaps like the rings of a tree trunk there’s a history contained in each assemblage.”
Renee Iacone, 2015
Carriage House, 2nd Floor
The Old and the New
Jenny Snider will be showing works from the 1990’s and new pieces from her project, Montage of Attractions; these new works contain echoes of the narratives and story-telling structures of the earlier works on paper.
Since its inception, Montage of Attractions has grown from a single work, meant as an homage to Eisenstein, to include a larger cast of historical figures: among them, poet Osip Mandelstam, writer Isaac Babel, artist Luibov Popova, actor, director, and teacher Vsevolod Meyerhold, and actress Zinaida Reich, who was Meyerhold’s second wife. My focus has expanded from Constructivist Art of the early Soviet Period, to the fate of the artists and their work, when Joseph Stalin became the final arbiter of art, life, and death in Russia.
Carriage House, Third Floor
“The research data concerning Global Warming and its effects (i.e. Climate Change) are well documented and profusely published. The range of Climate Change information should, without a doubt, confirm the potential possibilities of how the earth is currently being compromised. If we look carefully, we can observe many of these effects in our current time period. The predictive climactic computer modeling creates a rather bleak and formidable series of problems for the future of this planet.
This new work represent an attempt to envision a series of circumstances and the results of continued massive production and release of carbon dioxide through the use of fossil fuels and the general release of methane into the earth’s atmosphere. The catastrophic combination possibilities are frighteningly profound and will challenge virtually all aspects of life as we know it.
And yes, I am a painter who is deeply immersed in the magic of paint and the painting processes. It is my hope that through the combinations of my interest in Science, Nature and Painting, we can come to some understanding of our place in the world.”
Larry Brown, 2015
Carriage House, Fourth Floor
“Several times I worked in the studios of ceramicists. I watched them form volumes from the inside of the form. I wanted more volume at the time and to break with the expressive restrictions, the built in memories of the normative form of the figure. I devised a way to work from the inside out and changed my pattern of behavior and thought in regard to the form of the figure. I don’t think I will have to revisit that way of working again.”
Bruce Gagnier, 2015
On Saturday, October 17th the gallery will have six solo shows (watercolors, sculpture, photography/Installation, constructions and paintings). The work will be on display through November 8th with a reception for the artists on Saturday, October 17th from 6:00 until 8:00 p.m.
“In my recent paintings I experiment with transparent layers of colored geometry to create ethereal architectures. My invented images are rooted in a love for urban and wild places along with a desire to converse with favorite works of art.”
Lee Marshall, 2015
“Nature is interesting. Human nature is interesting: its narrative in terms of form, weight and space and all those other aspects pertaining to the domain of sculpture and how those things can create a tactile experience, which in turn can give rise to feeling, which can evoke memory, which can awaken the heart and activate one’s being.”
Jan Abt, 2015
Carriage House, 1st Floor
“In this body of work, I continue to employ the covers of discarded books, chopped and sorted. The fragments I create become a basic, if modest, block with which I can build. This is a process that allows for play and a certain amount of detachment from outcome.
As I work, the patterns and forms that evolve conjure up thoughts of natural forms; life gone digital, human development, chaos and sprawl, disease, Roman antiquity, – the list goes on. I pull back from letting my mind get too hung up on these associations or the force of their implications begins to direct the work. But then, it is very hard to resist being pulled toward decisive meaning and inevitably, at times I yield. Ultimately, the glue that binds these is that they are an exercise in embracing a certain sense of symmetry, softness, even calm and relaying that sense of balance through form, rhythm and color – trying to create something that serves the viewer somehow, beyond conveying the cynicism or illustrating the role of darkness.”
Erin Walrath 2015
Carriage House, 2nd Floor
When Mountains Rise and Fall Like Waves
Louise Bourgeois talks of the unconscious and attempts to draw a petal on a grid. The
grid and the unconscious are so far apart that a spacious ground emerges between them.
This is where twilight occurs. The day hasn’t folded yet and the night hasn’t fallen.
The works in this exhibition find the opposites only to discover that the distance between
them is contingent on where one stands.
“Each ray of sunshine is seven minutes old,”
Serge told me in New York one December night.
“So when I look at the sky, I see the past?”
“Yes, Yes,” he said, “especially on a clear day.”*
Nandita Raman, 2015
* Agha Shahid Ali, Snow on the Desert
Carriage House, Third Floor
“Here are images hung together like words following each other in the line of a sentence. Not fair to images, which exist in their own right independent of their fellows, but what of words? Who argues that words should be separated and never forced into the bunches of sentence, paragraph, poem and novel?
Words are consigned to their fate in every conversation, every imprecation, every prayer.
So let it be with the pictures in this show.
In these paintings two things are stolen: an apple and a kiss.
Someone falls from grace.
Or that same someone floats up or down or side to side, depending on how you see it.
And someone else falls through a trap door only to dangle from their Texas necktie.
The connections exist in punctuation of line and light and tint, and in the fact that I painted them all incorporating what I know and what I think and what i feel.
The words — which is to say the individual paintings – are mine.
The sentence — which is to say the aggregation of the paintings – belongs to John Davis, who, as a gallerist, does the sentence making.
The response belongs to the viewer.”
Elisa Jensen, 2015
Elisa Jensen is a 2015 New York Foundation for the Arts Fellow
Carriage House, Fourth Floor
“My goal in painting is to capture nature, in both its toughness and vulnerability, and transmit all of its energy to the canvas. To this end I use intense colors, earthy textures and calligraphic lines, working in the zone where abstraction and representation shade into each other. My interests and training in Chinese painting and calligraphy lead me to a brushwork that is at once free and disciplined.
Color lies at the core of my painting process. I use it to convey mood and memory, and to express a particular sense of place and time. In my painting, color, line and plane interact, pushing each other until they reach a harmony, a unity. Like a jazz musician, I hear the lines of saxophone, bass and drums, each improvising in response to the others, swinging the piece forward. If and when these responses reach their climax, the painting is done.”
Ying Li, 2015
John Davis Gallery 362 1/2 Warren Street Hudson, New York 12534
Hours: Thursdays through Mondays, 11 – 5 pm and by appointment