Fear and the Fall of Psychedelic Realism
It was 60 years ago today, when the German born artist Richard Lindner (1901-1978) first exhibited in London at the Robert Fraser Gallery. Opening on Duke Street in 1962 with an exhibition of work by Jean Dubuffet, Fraser’s Gallery quickly became the place to be shown and to be seen. Fraser introduced to British culture the cutting-edge art of Robert Rauschenberg, Andy Warhol, Jim Dine, and Bridget Riley and lead post-war buttoned-up Britons into the era known as Swinging London.
Harvey Dinnerstein: A Remembrance (1928-2022) by Dennis Cheaney
Painter Harvey Dinnerstein has died age 94 on June 21, 2022. A longtime member of the New York school, Harvey was a classical realist, whose work was strongly rooted in the traditions of Italian Renaissance art.
Peter Booth: Painting at the End of Time by Dennis Cheaney
This introverted Aussie octogenerian abandoned his colorful hard edge abstractions decades ago for crude illustrations of ashy-hued oafs lumbering through the backwaters of the Earth. Their artistic antecedents are the grieving Adam and Eve, cast out of Eden, as depicted by Masaccio, with twisted countenances and fear-filled hearts. Booth’s figures, however, are wide eyed but half aware, drowsing through their days, now and then consorting with demons.
Connection to Place: The Work of Eric Aho and Brece Honeycutt by KK Kozik
What makes a place a place? In Landscape and Memory, Simon Schama’s far-reaching study of nature and culture, he writes that “wilderness does not name itself.” He asserts that the very act of identifying a place “presupposes our presence [as well as] the heavy cultural backpacks we lug with us on the trail.” For Schama, landscape is a human construct that becomes altered as we invest it with our myths and longings. Thus, he adds, even the landscape we “suppose to be most free of our culture may turn out, on closer inspection, to be its product.”
For Your Consideration, A Comparison by Peter Cusack
With time as both the distance between these two artist and an essential medium in their work, both Albert Pinkham Ryder and Sean Noonan explore shape, color, composition, surface and the magical, mysterious metaphor of sailing.