On Thursday, May 26th, a group of artists will open the season with a medley of exhibitions for the Main Galleries, Sculpture Garden and Carriage House. In celebration, the gallery will have four solo shows (sculpture, painting, and an installation). The work will be on display through June 19th with a reception for the artists on Saturday, May 28th from 6:00 until 8:00 p.m.
Main Galleries:
David Hornung
"These recent pictures, all made with gouache on handmade paper, were completed in the winter and spring of 2010-2011. As usual, they depict scenes from around my home in the Catskills. My usual working method is to create loose sketches from memory and imagination and then translate them into paintings.
The paintings in this exhibition, although small, take time to develop. I make many adjustments and "corrections", mostly in pursuit of a nebulous but insistent sense of balance. Not compositional balance, but the balance of all the various parts of a picture including its tenuous connection to outside reality. I'm preoccupied by the distinction between fact and fiction in what is largely an artificial enterprise. You could say that I am compelled by a pictorial truth, not realism."
David Hornung
2011
Stephen L. Reynolds & Pamela J. Wallace
Sculpture Garden
Pamela J. Wallace and Stephen Reynolds will be exhibiting sculpture in the garden that is a result of their collaboration. The two pieces are titled "Water Capture" and each is 9 feet high.
Excerpts from an industrial dream... On road trips Wallace and Reynolds slow their car down to a crawl when passing a fading industrial structure or farm building. Their idea of a good time is to tour a WWII era factory where submarine propeller shafts were made. These aging industrial structures are filled with textural and formal details that travel with them back to their Germantown studio. There, the sculptures that they collaborate on are distillations of this shared visual experience and are the result of long conversations and many sketches.
The final product is always far from an exact representation of the original source, but their careful selection of details results in a unique object that nonetheless suggests the beauty of industry past its prime.
Pamela J. Wallace & Stephen L. Reynolds
2011
Elevator Shaft Installation
Pamela J. Wallace
Suspended so far, yet somewhere else
"In Suspended so far, yet somewhere else, I am constructing a system in response to the architecture and function of this elevator shaft. For years, this elevator moved countless pounds in and out of this carriage house. I do not know what was lifted or how much weight was carried, but it is this absence of information that motivated me to produce this work.
Using a system of suspended spheres, ropes, bowls and stones, I've created an installation that reflects on the many unknown burdens that have moved up and down in this space. Stopping this movement, I have held the platform on the bottom floor by weighing it down with small stones, forcing it, for the time being, to simply sit still."
This installation was made possible with funding from The New York Foundation for the Arts, Special Opportunity Stipend Project Grant.
Pamela J. Wallace,
2011
Second Floor Carriage House
Pamela J. Wallace
"I combine hard durable industrial materials such as iron and concrete with organic ephemeral materials like paper, thread, fabric and wax. As this is aesthetically appealing to me, I am also interested in working with materials associated with work and gender as I forge iron elements, or sew and use paper to create contrasting organic forms.
Both my installations and sculptures are made up of a continuum of objects, where patterns are often mapped out like constellations. Upon first looking, one sees a distribution of objects mimicking non-linear geometries where order comes and goes. Approaching the work, it becomes clear that the smallest detail is essential, as with the tiny insect pin as it can pierce and display, exposing awkwardness and vulnerability as when a bug is pinned up and studied. Closer inspection reveals unexpected details such as plant fibers encased in sewn plastic bags, iron spoon and bowl forms capturing empty space, or circles held tight to the wall by the tips of pins."
Pamela J. Wallace,
2011
Third Floor Carriage House
Dale Emmart
Pod, Nest, Vine, Sky
"I relish the time it takes to observe, render, and interpret. The slow, incremental process of adjusting formal elements over and over is essentially what brings me the most substantial sense of involvement. I paint to find a place between seeing and invention.
The varied space of the Carriage House offers the opportunity to install pieces with three different, concurrent types of work. The first set of paintings are in oil on panel; the second, stretched paper pulp drawings; and finally, monotype prints with watercolor. Due as much to necessity as inclination the series, through material and visual intention, maintain continuity. I keep a rural Pennsylvania studio for painting and a studio for works on paper in Manhattan. I enjoy the diversity and the cross-pollination of ideas among works of each studio.
Historical landscape, still life, botanical drawings and compulsive gesture drawing have importance in these works; their presence obvious throughout. The Nest and Vine series come directly from still life and observation. 'Pods' rely on the scrutiny of botanical examination. The monotypes merge renderings of popped corn with studies of shifting cloud masses."
Dale Emmart
2011
Fourth Floor:
Robert C. Morgan
"Beginning in 1970, my work as a painter has involved the use of metallic pigments and polymer emulsion in both representational and abstract styles. The centerpiece of the current exhibition involves a diptych, titled Learning To Swim, based on a two-part image I saw in a 1937 swim manual that I painted in 1974. The painting was previously shown at White Columns in New York in 1984. The five smaller paintings are geometric forms, which double as letters, painted in 2011. As with other recent exhibitions, I consistently include a mix of early and up-to-date paintings in order to show a formal, conceptual, and historical relationship between the paintings. I enjoy seeing the present in relation to the past, and enjoy the feeling of a progression in time by painting images and forms that intrigue me. I look for both erotic and ironic content in my work, and hope that this will communicate to my viewers."
Robert C. Morgan,
2011
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