A leading champion of contemporary artmaking, Sean Scully has come to project his image of an artist as a formalist conundrum, as intimated by the above metaphor that exudes a sense of pathos.
In Hovnanians exhibition the definitions of medium and message, artist and spectator, addresser and addressee, sacred and secular, along with the aesthetic and the real, have been rendered interdependent.
Severe yet expressive, hermetic yet lucid, circumspect yet luxuriant, the geometric abstractions painted by Robert C. Morgan are absorbing explorations of form.
One of the most intriguing exhibitions of recent years is Liliane Tomasko: Evening Wind at the Edward Hopper House. Scattered somewhat randomly upon the walls of Hoppers living room and dining room in Nyack, the abstract painterly marks on surfaces of paper, notwithstanding their aggregation of luscious streaks and seductive palettes of subdued and brilliant hues, register as self-contained entities. Yet the seeming abstractions of Tomasko, framed within her overall body of work and the context of Hoppers self-absorbed human figures, translate as conduits to the perceptual states of the human subject, as cryptographs of the subconscious, as passages toward the unconscious. These works compel us to reconsider the referent of the term abstraction.
Intentional and accidental marks of the artists hand, purposeful and irresolute expressions of gesture, vigorous and reticent swaths of paint: these are the oppositions that govern the gestural idiom of Richard Hearns, a prolific painter of abstracted landscapes.
Here the boundaries of form and content dissipate, as medium and message are rendered interchangeable, undermining the closure of meaning and anticipating those interpretations that emerge from the perception and intuition of the observing subject.