Louisa Waber: Recent Painting and Drawing
Saturday, February 4 – Sunday, March 19, 2017
Resolute with both depth and vitality, examples of Louisa Waber’s abstract art have been noted for many years in exhibitions in New York, and can now be seen on their own together.
Waber mentions Cezanne, Hofmann, de Kooning, and Guston, as a context of inspirers. But her current working mentality is also moved by Byzantine mosaics, and by geometry and architecture, a quality of airiness, and the moody industrial landscape seen from her studio window: old factories, the sky at a certain hour. Waber paints rhythm and light, a sense of being able to move in and out of the picture plane.
Her paintings are both direct and mysterious. As she paints, she says, she accepts that her paintings are working when they take on a voice of their own and she can respond to what they are saying. Every mark or stroke can exist only in the moment. The moment in the process cannot be repeated. Even after only five minutes, it becomes a different mark and a different painting.
Whether a painting is finished or not is often unclear to her – some paintings always want more. Others are more definitive, they practically shout, “done.” Sometimes she’ll leave a painting alone for weeks or months, and then revisit it once new possibilities reveal themselves. But that is the finished feeling of her works: possibility revealing itself.
Sculptures on Long-Term View
The Eventual Outcome of an Instant
A Social Practice Sculpture Project by Sue Wrbican
Executed June-September 2015
Drawing inspiration from the surrealist landscape paintings of Kay Sage, Sue Wrbican designed a 27′ tall site-specific sculpture, Hyphen, for the Seligmann homestead. Situated at the highest point on the 55-acre homestead, Hyphen draws Sage’s charged surrealist landscapes into three dimensions, giving new insight into the experience of her under-appreciated work. A fourth dimension is implied through the lens of time and history. Constructed collaboratively using wood salvaged from a fire at a local lumberyard, the works resonate with the fact that Sage, prior to creating her painting, Tomorrow is Never, dreamt of burning scaffolds.
Book Tree, 2012
Jed Bark joined Holly Solomon Gallery when it opened in 1975 and exhibited there regularly until the mid-1980’s, when he shifted his full-time focus to Bark Frameworks. His works are in the collections of The Metropolitan Museum of Art, The Whitney Museum of American Art, and the Centre Pompidou, among others. Bark’s work was recently shown in the exhibition “Rituals of Rented Island” at the Whitney Museum of American Art (2014) and at Paris Photo (2016). An individual exhibition of his work, “Jared Bark: Photobooth Works, 1969-1976,” took place at Southfirst Gallery in 2015.
Crazy Column, 1976
526 x 53 x 53 cm
Bernard Kirschenbaum, born in 1924 in New York City, is an artist known for both his architecture and sculptures. Shortly after graduating from Chicago’s Institute of Design in 1952, Kirschenbaum moved to Massachusetts and opened an architecture firm along with several of his colleagues. The firm became well known for the development of the D.E.W. Line Dome System, which were a string of domes to cover radar equipment. After moving back to New York City in 1957, Kirschenbaum built a dome studio for artist Susan Weil, whom he later married. His focus shifted from architectural design to sculptural art in the 1960’s when he made a sculpture for a group show at a New York gallery. He had his first of many solo exhibits in 1969. Over the next few decades, Kirschenbaum exhibited art in a variety of locations including NYC, Washington D.C., Sweden, Wisconsin, and Finland. www.bernardkirschenbaum.com.