On Saturday, September 16th , there will be an exhibition of five artists in the Main Galleries, Sculpture Garden and Carriage House. The work will be on display through October 8th with a reception for the artists on Saturday, September 16th from 6:00 until 8:00 p.m.
Front Galleries & Sculpture Garden
Description of a Stone, 2017, cedar, 68 x 51 x 74 inches
“My sculptures and drawings reflect the sensibility that all complex forms and phenomena emerge from simple but persistent processes. Throughout the natural world, unexpected richness and complexity can be traced to the most basic properties of materials and the most elemental forces. Accumulation and time render profound and varied results. Every thing, under close enough observation, will reveal the complete story of its making.
I work with strict systems that establish narrow parameters for making – finite materials are manipulated by highly repetitive gestures. The work develops a quality of unpredictability as gestures accumulate into form. Each piece is a meditation on our relationship to natural objects, as it simultaneously references both human and non-human processes. It is not designed but discovered, or grown, and it holds evidence of unseen forces at work.”
Ben Butler, 2017
Carriage House, First & Third Floors
Louis & Henry Finkelstein
Seeing; Here, Together, Now.
Louis Finkelstein, Val du Tholonet, 1970, oil on canvas
Third Floor: Henry Finkelstein, Still Life, 2015, oil on canvas
A selection of paintings by Louis Finkelstein and Henry Finkelstein
“Rarely in my experience has the meeting up of a father and son yielded such joy! A selection of paintings by Louis Finkelstein and his son Henry Finkelstein are being shown for the first time in adjacent spaces at the John Davis Gallery in Hudson, NY. They give us a lot to contemplate.
Louis Finkelstein, a second generation Abstract Expressionist, made a name for himself as he exhibited with, spoke about and wrote about the artists of his generation and their influences. His son Henry was raised and schooled in this rich and fertile environment (his mother Gretna Campbell was in her own right a talented and successful artist). Henry has been teaching and exhibiting since early in his career and is sought after by students, art schools and collectors alike.
Louis and Henry work in territory first travelled by the impressionists. It is an arena demarked by the need to resolve the structure of the painting, the abstraction, whilst in the act of making the painting in-situ, in front of the motif. It’s a highly risky and uncertain approach, with no guarantees of success yet open to all sorts of possibilities.
The works in these exhibitions give us the opportunity to enjoy just how much they have invented and to glimpse into the nature of the relationship between father and son, comparing similarities and differences of approach, motif, manner and even influence. Both are creating worlds with their minds and coloring them with emotions, responses to the light and landscapes which they love. Pierre Bonnard once said; “The artist who paints the emotions creates an enclosed world… the picture… which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him”.
It’s not surprising then, that here in Hudson, in the Twenty First century, we find the paintings of both Louis and Henry Finkelstein so rewarding and full of sensuous experience, but I suspect we’d draw the same conclusions no matter where they are hung. It’s a testament to the artistic vision of John Davis that he desired to see them here, together, now.”
Peter Bonner, 2017
Carriage House, Second Floor
Untitled, 2017, oil on linen, 20 x 16 inches
“I pay attention to the weight of color in patches of pigment, negotiating boundaries, drawing focus to transition, as if each point of contact is of its own importance.
I capitalize on the moments where a painting teeters, where illusion is countered with bluntness, where bluntness gives way to grace.
I suspect through pinpointing this threat if collapse I attune myself to fragility.”
Laurel Sucsy, 2017
Carriage House, Fourth Floor
Shimmer, 2015, watercolor on paper, 30 x 22 inches
“A painting can be marvelous company. I try to paint that kind of painting.”
Lee Marshall, 2017
On Saturday, October 14th, there will be an exhibition of six artists in the Main Galleries, Sculpture Garden and Carriage House. The work will be on display through November 5th with a reception for the artists on Saturday, October 14th from 6:00 until 8:00 p.m.
Landscapes, 2008, mixed media, 11 x 18.5 x 2 inches
John Davis began showing the work of La Wilson in 1983 in Akron, Ohio and continued with Ms. Wilson when his gallery moved to New York City. Including the 2004 retrospective that Mr. Davis curated, La Wilson Altered Objects (at the Philip and Muriel Berman Museum of Art, Ursinus College), this upcoming show will be the 16th exhibition of Ms. Wilson’s work that the artist and dealer have presented together. It will also mark Ms. Wilson’s eighth exhibition in Hudson, New York, (the first, having been recognized and reviewed in The New York Times). She visits Hudson, New York from Hudson, Ohio where she lives and has shown extensively in the mid-west and New York City.
Ms. Wilson was given a retrospective of her work at The Akron Art Museum in 1986/1987 titled La Wilson Metaphorical Objects. Kathleen Monaghan (then Director) initiated and selected work and Barbara Tannenbaum (then Chief Curator and Head of Public Programs) facilitated the installation and supervised the production of the brochure with the late Ellen H. Johnson’s contribution of an interview with La and Ms. Monaghan contributing the introduction. In 1992 Tom Hinson, curator of Contemporary Art at the Cleveland Museum, chose a group of La’s works to exhibit at the Cleveland Museum of Art. In 1993, the artist received the top award for sculpture in the Cleveland Museum of Art May Show. It was in this same year that La was awarded the prestigious “Cleveland Arts Prize in Visual Arts” for sculpture. In 2004 the Philip and Muriel Berman Museum of Art at Ursinus College (Collegeville, Pennsylvania) mounted a retrospective of her work, titled La Wilson Altered Objects with catalogue essay by Edward M. Gomez, curated by John Davis.
In all of her work, La Wilson has confounded those who have watched her development as an artist over the years with her ability to defy the material and transform everyday objects into visual delights that convey profound meaning and sustenance. In her words, “I try to steer clear of objects that are too loaded with meaning; but then, when I think about it, everything I use is loaded – snakes, pencils, firecrackers, matches, hair pins. What I try to do is free myself from the conscious associations so that the unconscious ones can take over. I am much more interested in what I don’t know than what I do know.”
Sculpture Garden & First Floor Carriage House
fragment (Camille), terra cotta, 5.5 inches
“The exhibition is mostly drawn from continuing work, but also includes a piece from a project in progress, Sylvania, about the American essayist John Jay Chapman (1862-1933). Meadow, a figure in a landscape, “illuminates” a moral crisis in Chapman’s young manhood.
Two of the face-pieces are portraits. One from a friend, the other an imaginary likeness of Camille Claudel (1864-1943), based on a historical portrait from life. The Classical Head fragment comes from a continuing thought-experiment, which attempts to recover the model behind the Classical ideal head.
Two plaster “birds” come from a continuing preoccupation with winged figures. A credible winged figure is an impossible proposition, really, without recourse to ambiguity and metaphor. But maybe with enough ambiguity, anything is possible.
The bronzes outdoors attempt a “figure degree-zero.” Could one achieve the seeming presence of standing person in an undivided form, without parts, without replication of features?
Brandt Junceau, 2017
Carriage House, Second Floor (small rooms)
Oxford Square”, 2017, oil on board, 13 x 14 Inches
“I think when something is truly beautiful, it is unknowable, and can reveal itself an infinite number of ways without denying the very quality that gives it its beauty. I paint to understand the things around me and to know my place with them. The process of making a painting allows me to find meaning in unsuspecting ways. I am grateful because I am coming to know a reality that is rich, strange, and full of surprises.”
Brian Rego, 2017
Carriage House, Second Floor
Shanghai 1933 #’, 2017, 15×20 archival pigment print
Self-taught photographer Paul Hamann has been making black and white images since 1968, exploring through various camera formats and printing techniques, the aspects of the natural landscape.
Inspired by the work of the great landscape photographers and armed with a keen interest in the natural mathematics of order/chaos, Hamann’s photographs seek to reveal the patterns and sequences in the exterior natural landscape in a way that transcends the subject matter and draws us into a space that surrounds the subject of the image.
Working first with a 35mm camera, Hamann began taking pictures with an eye to the details and abstractions that captured the essence of what he saw. He soon began to explore the greater range and depth of large format negatives—first working with a 5×7 camera and later experimenting with 4×5 and even larger formats. The technical requirements of shooting with the larger format cameras as well as the resulting clarity and definition of the images proved perfectly suited to the detail and precision of Hamann’s creative vision.
Susan Sontag said, “The painter constructs, the photographer discloses.” This distinction is certainly true of landscape photography. Although Paul Hamann’s photographs are essentially disclosing their subject they are also in effect constructed by the almost mathematical imagination with which they are composed, exposed and printed. The images themselves also construct a sort of meta landscape, stringing the tension between what is perceived on the surface of the image and what might be hidden behind, around, beneath or within it—the landscape of the interior.
This tension between what is constructed and what is disclosed is at the core of what Paul Hamann’s images are about—revealing the ordered patterns in the chaos, the motion in the perceived stillness, the interior of the exterior.
Painting E, 2007, oil, pencil on linen, 40 x 40 inches
“The title “Blank” for this exhibition of paintings, refers to the way I have worked with white in my paintings for the past 2-3 years.
In the form of grids painted with white paint, the painting surface continuously is brought back to a “blank” canvas as a way of erasing and correcting as I paint.
The painting develops and builds out of this process.”
Tine Lundsfryd, 2017
Carriage House, Fourth Floor
AERABLA – Paintings
AERABLA 16 2017 16” x 12” oil on canvas on panel
“As the painting evolves
I imagine a point of view
above the earth
I continue painting. I am an explorer: imagining floating over the land from a great enough distance. Aerial views of battered landscapes, degraded by human-caused disasters become, in pulling back from the chaos, a great beauty, which enables me to envision the absence of human intervention.”
Priscilla Derven, 2017
Gallery hours are Thursday through Monday, 11:00 till 5:00 p.m. For further information about the gallery, the artists and upcoming exhibitions, visit
or contact John Davis directly at 518.828.5907 or via e-mail: email@example.com.
High resolution images are available upon request.
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