All the roses that were ever painted
dal 19/2/2004 al 15/3/2004
Segnalato da
19/2/2004
All the roses that were ever painted
Plus Ultra Gallery, New York
An exhibition of recent work by new york artists Jon Berzinski, Limor Gasko, and Gary Petersen. Referencing a quote by Henri Matisse about the ubiquitous burden of history on each new generation of painters, 'All the roses that were ever painted' brings together the work of three artists representing the spectrum of contemporary painting form.
jon berzinski, limor gasko, and gary petersen
plus ultra is very pleased to present "all the roses that were ever painted," an
exhibition of recent work by new york artists jon berzinski, limor gasko, and
gary petersen. referencing a quote by henri matisse about the ubiquitous burden
of history on each new generation of painters, "all the roses that were ever
painted" brings together the work of three artists representing the spectrum of
contemporary painting form. examining the overlapping similarities of each, this
exhibition asks the question: are the goals of abstract and representational
painting any longer distinguishable?
the savvy abstractions by gary petersen stand at one end of the spectrum.
loosely suggesting systems, body parts, or worlds within worlds, they combine a
geo-organic vocabulary with a playful, but disquieting palette, all the while
carefully avoiding representation of anything specific. still concerned with the
metaphorical potential of paint that has informed abstraction historically,
peterson consciously flirts with representation, rather than abstracting
something that is actual, thereby creating windows into imaginary worlds. in the
middle of the spectrum are the abstractions of actual interiors by jon
berzinski. based on photographs of the capital punishment chambers in various
prisons, berzinki's paintings blend politically loaded subject matter with
pop-chartered commentary via a treatment that both reflects and deflects the
cold, clinical reality that takes place there. clearly identifiable forms
combined with a nonrepresentational palette and hard geometric abstraction defy
easy definition within either form. approaching photorealism, limor gasko's
deftly painted still lives stand at the other end of the spectrum. in
compositions of arranged mice, birds, or flowers on fields of electric colors,
gasko's crisp palette blends with subtle allegories that stop short of what
would be called "surrealism" but still tap into psychological responses by the
viewer. competing with her mostly solid grounds for domination, gasko's
unusually composed figures construct larger shapes and relationships commonly
associated with abstraction.
of course, lingering in the shadows of this investigation and complicating any
discussion of artists' goals remains the ever-present specter of irony. although
it would seem that the question of irony is no longer the tenure of the artist
alone (it's now at least partially decided by the viewer as well), the emergence
of overlapping similarities between forms in contemporary painting seem to
render the question less relevant.
contact joshua a. stern or ed winkleman at 718-387-3844
opening reception: friday, feb 20, 2004, 7 - 9 pm
february 20 to march 15, 2004
gallery hours: friday thru monday, 12 to 6 or by appointment
plus ultra gallery
235 south 1st street
brooklyn, ny 11211
718-387-3844
directions: take the L train to bedford avenue. walk south along bedford to
south 1st street. turn left. plus ultra is two blocks from bedford, just past
roebling street.