Color: Field and Form, Part 12

Part 4: Von Heyl  
Part 5: Goodwin 
Part 6: Florian 
Part 7: Hicks, Lasserre 
Part 8: Hoke, Kline 
Part 9: Haussmann, Rumford. Derbes, Johnston, Lipton, Mittenthal, Wright, Dancy, Boyajian
Part 10: Hudson Valley: Fishman, Goodman, Natale, Azara, Bjork
Part 11: Shalom, Ramsay, Clippinger  
Julie Oppermann, detail of Moire

We have come to the end of our summer series, Color: Field and Form. And not a moment too soon, as the fall season begins this week. With this final installment, I have shown you the work of 37 artists who have exhibited in 25 galleries and two museums, as well as two studios, in New York City, Larchmont, Boston, Provincetown and Truro, and upstate in Woodstock, Kingston and Hudson. The exhibitions took place through the spring and into summer. Several are still up (Hoke and Kline at the New Britain Musem of American Art, long-term installation and permanent collection, respectively; and Natale at R&F Gallery, Kingston).

In this post we go back to Chelsea in May-June for a three-artist exhibition that was, quelle suprise, about color, field and form. I'll keep my comments brief except to say that the selections and installation made it one of the most visually pleasurable I have seen, with flat fields, carved reliefs and fully dimensional forms that bring together mathematical calculation and organic composition.

Schroeder Romero & Shredder
Sara Bednarek, Julie Oppermann, Karen Waskiewicz
April 26 - June 2
From left: Julie Opperman (detail shown above), Sara Bednarek, Karin Waskiewicz
I'd seen Oppermann's work at Pulse in Miami in December and was delighted to see it again here, where the lighting was more conducive to photographing her brilliant and meticulous pattern. At the same fair, at the Schroeder Romero booth, I saw the work of Waskiewicz, whom Lisa Schroeder and Sara Jo Romero were introducing to the public for the first time. At the time I remember thinking how fabulous it would be to see these two artists together, one energizing the surface with her electric moires, the other excavating her surface to reveal color in compositions with the same kind of fluidity. So you can imagine my delight in learning they would be showing together here. Bednarek was a pleasant suprise, with her geometric precision and full volume. OK, so let's tour the show. We start on the wall to the right as you walk into the gallery

On walls: Oppermann flanked by Waskiewicz, Bednarek on the pedestals

Sarah Bednarek, Torus for C.S.,  2011, paper

Bednarek, A Lunar Hyperdensity, 2012, plywood, paint and epoxy, in foreground

Karin Waskiewicz, Mock,  2011, acrylic on canvas
Detail below showing the excavated surface


Contining around the gallery, with a stop at . . .
Oppermann's Moire 1012, 2012
This image from the gallery website
. . .and swinging around to the south wall

. . . with a particularly lyrical Wazkiewicz painting, Atrophy, 2012

Oppermann on the south wall with Bednarek and Waskiewicz on the wall facing the entrance
The gallery website contains individual images of each work in the exhibition, as well as installation shots far better than what I could take with my lttle point and shoot. Click to see.
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annell4 said...

A beautiful post of beautiful paintings! Thanks so much.

Lynda Cole said...

This is a beautiful collection. I would have loved to see it in person.

Kay Hartung said...

Love the Waskiewicz paintings!!

John said...

What about this guy?

kim matthews said...

Joanne, What's the big open-work box on the floor? These are great. Thanks as always for posting.

glen soikie said...

this is all so fresh thxs for sharing